
In canonical works of Western literary tradition, poetic genius and madness are
concepts that have consistently come up across time, no matter if in works of
criticism or fiction. Genius and madness are seen as forces outside the poet’s
control and that lead to the production of great poetry. Using Aristotle and
Friedrich Schiller’s comments on madness, simplicity, and genius as a frame of
reference, this essay examines Miguel de Cervantes’s _Don Quixote_ and Bohumil
Hrabal’s _Too Loud a Solitude_ to uncover the role of the madman not as the
author, but as the protagonist. Cervantes and Hrabal portray their main
characters as mad through their thoughts, actions, and other characters’
reactions. As geniuses by virtue of their madness, the protagonists of the two
works ultimately invite the reader to momentarily become mad with them as a
transformative experience.

_Don Quixote_ follows the narrative of a man named Alonso Quixano who reads so
many chivalric novels that he believes himself to be a knight-errant. He
convinces his neighbor, Sancho Panza, to become his squire and embark on his
adventures to revive chivalry together. Though other characters, and even the
narrator, view him as a madman, they occasionally humor his delusions,
participating in his fantastical quests and sometimes getting caught up in his
idealistic view of the world. The novel is written in the third-person
perspective, and the narrator often uses a mocking tone to satirize Don
Quixote’s actions.

_Too Loud a Solitude_ is a Czechoslovakian novel self-published outside of the
country during a period of heavy censorship following the Prague Spring. It is
written in the first-person perspective, and the narrator’s voice belongs to the
protagonist, Haňtá. Stylistically, it is composed of many run-on sentences with
beautiful prose to reflect the narrator’s philosophical musings and experiences.
It explores the underground side of censorship and the impact literature can
have on one’s life.

Like Don Quixote, Haňtá can also be classified as a madman, but his
peculiarities are more subtle than those of the former. Haňtá is a wastepaper
compactor who has been working in his underground cellar for thirty-five years.
He likes to save rare books, bringing some home and using others to create works
of art that only he knows about. He carefully lays an open book in the center of
each compacted bale of paper as his signature, then frames the bale with printed
reproductions of European art. Though his cellar piles up with wastepaper that
he cannot process efficiently enough, he still prioritizes creating these bales
over all else. He says, “I’m the only one on earth who knows which bale has
Goethe, which Schiller, which Hölderlin, which Nietzsche. In a sense, I am both
artist and audience”, and calls each book he buries in his bales “a precious
relic” (Hrabal 6). He detests showering, drinks all day, and does not adhere to
conventional ideas of public decorum. His boss begs him multiple times to “come
to [his] senses” and eventually resorts to calling him a “nitwit” before
replacing him with men from the Socialist Labor movement (46, 72). Since he had
been saving money to buy his hydraulic press and continue his life’s work after
retirement, his termination means he loses his life’s purpose and everything he
has. Defeated, he imitates Seneca and Socrates and chooses his own fall,
compacting himself to death in his press and holding a book opened to a page
saying, “Every beloved object is the center of a garden of paradise” (97). From
the way he carries himself, is both artist and audience, must come to his
senses, and ends his life, he, too, can be considered a madman.

Though the two protagonists share the characteristic of madness, their
manifestations of it differ greatly. While their narratives depict them as
madmen, madness is never explicitly defined, yet is evident to the reader
nonetheless. Aristotle’s ideas in _Poetics_ can create a framework for analyzing
their thoughts and actions. He states that poetry stems from either natural
ability or madness, which he defines as when someone is “beside himself”
(Aristotle 79). To be beside oneself means to be overwhelmed by emotion to the
point where one cannot make sound judgment. It is not clear, then, whether
Aristotle’s “madman” refers to a temporary emotional state or a more lasting
psychological affliction. Earlier in the work, he writes, “poetry is something
more philosophical and more worthy of serious attention than history; for poetry
speaks more of universals, history of particulars” (69). Thus, as an extension
of being beside oneself, the madman is so immersed in this state that his
perception of the world is altered—the madman applies poetry’s universals too
diligently to the particulars of his reality. Rather than producing poetry out
of madness, Don Quixote and Haňtá are mad because they are too immersed in their
poetic worlds. In this sense, Don Quixote’s madness stems from his inability to
distinguish universals and particulars in his delusional chivalric worldview,
and Haňtá’s madness stems from his deep immersion in banned philosophical
thought to the point where he neglects the particulars of his professional life.

Both characters are beside themselves because of the literature they consume.
Don Quixote “became so absorbed in his books that he spent his nights from
sunset to sunrise, and his days from dawn to dark, poring over them; and what
with little sleep and much reading his brains got so dry that he lost his wits”
(Cervantes vol.1, ch. 1). His absorption in and obsession with his books causes
him to lose himself, as indicated by his identity change from the regular
civilian Alonso Quixano to knight-errant Don Quixote. Similarly, though with a
different tone, Haňtá describes reading as so:

> . . . when I start reading I’m somewhere completely different, I’m in the
> text, it’s amazing, I have to admit I’ve been dreaming, dreaming in a land of
> great beauty, I’ve been in the very heart of truth . . . Lost in my dreams, I
> somehow cross at the traffic signals, never bumping into street lamps or
> people, yet moving onward, exuding fumes of beer and grime, yet smiling,
> because my briefcase is full of books and that very night I expect them to
> tell me things about myself I don’t know. (Hrabal 7)

By being in the text, he also loses himself in dreams and does not care about
others’ perception of him as he exudes “fumes of beer and grime”. His boss plays
the same role as _Don Quixote_’s narrator and calls him a “nitwit” for being so
hopelessly absorbed in his books and artistic paper bales (72). Ultimately, for
the two madmen, reading is a complete renunciation of the self.

Using the characters’ madness as a mask, both Hrabal and Cervantes comment on
readership and censorship. In “The Author’s Preface” of _Don Quixote_, Cervantes
references the saying, “Under my cloak I kill the king.” This saying can be a
metaphor for the subversive potential of a fictional work. And, while not stated
directly in his work, it is well-known that Hrabal self-published his novel
outside of Czechoslovakia during a period of strict censorship, which is also a
major theme in his narrative. Due to these contexts, the authors demonstrate
their intent to leverage their stories for social and political commentary.

In Cervantes’s work, those around Don Quixote blame his madness on his chivalric
novels and burn many of them. His niece says it is better to “fling [Don
Quixote’s chivalric novels] out of the window into the court and make a pile of
them and set fire to them”. However, the curate and the barber agree that they
should keep some books, calling one of them the “best of all the books”, thus
acknowledging some of the literature’s merit (vol. 1, ch. 5). Since some books
are good and did not cause those who read them to go mad, this raises the
question of whether it is the responsibility of the reader or the author that a
book is read “correctly”. Cervantes’s ironic tone throughout the novel hints
that Don Quixote is the bad reader and that the books are not at fault,
especially given that other characters give sensible interpretations of
chivalric novels in chapter 32 of volume one. Nevertheless, the other characters
try to exert control over Don Quixote through censorship, but it does not work,
and Don Quixote continues to live according to his own whims as a madman.

Compared to _Don Quixote_, _Too Loud a Solitude_ deals more extensively with
censorship, as it forms the main undertone of the novel. All the books Haňtá
deals with among other wastepaper are books banned by the Czech government. The
public has no access to them, so he has the privilege of accessing forbidden
knowledge through his lowly occupation. Regarding censorship, he says:

> How much more beautiful it must have been in the days when the only place a
> thought could make its mark was the human brain and anybody wanting to squelch
> ideas had to compact human heads, but even that wouldn’t have helped, because
> real thoughts come from outside and travel with us like the noodle soup we
> take to work; in other words, inquisitors burn books in vain. If a book has
> anything to say, it burns with a quiet laugh, because any book worth its salt
> points up and out of itself. (Hrabal 2)

In other words, thoughts and ideas are independent from the people who think
them or the books which contain them, and thus censorship is of no use. Thoughts
are timeless and travel through people and books as a medium. Later in the
novel, Haňtá also refers to thoughts as “live, living, life-giving”, indicating
that they are organic, independent, and necessary for human living (26). Though
the government censors philosophy, poetry, and other literature, the thoughts
contained in them continue to propagate through mankind as steadily and
inevitably as the sun shines on earth. Haňtá is a rebel and follows his own
principles to be both artist and audience for the silent voices of these banned
books. Due to his private rebellion against censorship, he carries himself
unconventionally and reflects the image of a madman. In this way, both Don
Quixote and Haňtá demonstrate the madman’s loyalty to his belief system’s
anchor, which is, in this case, literature. This loyalty transcends the bounds
of power, oppression, and societal pressure.

While madness has a negative connotation, the two protagonists’ actions can also
be interpreted as simple or naïve. In his essay “On Simple and Sentimental
Poetry”, Friedrich Schiller frames a simple person as someone who rejects
affectation, and deception in favor of nature and truth (Schiller 183–184).
“Simplicity in the mode of thinking cannot then ever be the act of a depraved
man; this quality only belongs to children, and to men who are children in
heart,” he writes, indicating that simplicity is an attribute of a virtuous and
childlike person (185). Schiller raises the example of Pope Adrian VI as an
example of a man toeing the line between “foolishly simple” and “nobly simple”,
for he censures the evil deeds of the papacy and later is accused of betraying
the church due to his unfiltered moral views (185). The simple man lives by his
truth without considering how outsiders perceive him. Don Quixote and Haňtá’s
poetic madness, then, aligns with this simplicity, which runs contrary to
societal conventions—abandoning the particulars of an artificial reality for the
truth of the universal. Their loyalty to literature in the face of oppression
and outside disapproval highlights their simultaneously noble and foolish
simplicity.

Don Quixote and Haňtá are both at the same time foolishly and nobly simple for
living by their own naïve principles, untouched by the corrupting artifice of
society. When Don Quixote approaches a landlord to request that he dub him a
knight, the landlord has “some suspicion of his guest’s want of wits” and
decides to humor him “to make sport for the night” (Cervantes vol. 1, ch. 3).
Here, Don Quixote’s foolish simplicity shines through. Those around him are
aware of his insanity, yet he continues with his delusions, unaware. At the same
time, he can be nobly simple, too.  Upon encountering criminals being
transported to become galley slaves, he decides that it is unjust that “these
people are going where they are taking them by force, and not of their own
will”. Despite hearing about their crimes, he still sets them free, and they end
up beating and robbing him and Sancho. Even the criminals were “thoroughly
convinced that Don Quixote was not quite right in his head”, but Don Quixote
still obstinately follows his own, albeit naïve, principle of justice and
freedom, making him both foolishly and nobly simple (vol. 1, ch. 22).

Haňtá is more self-aware than Don Quixote, but embodies both types of
simplicity, too. In the narration, he says, “I felt how vile I was and how fed
up with me he was, because he kept calling me a name no one had ever called me
before—nitwit, nitwit, nitwit,” indicating his awareness of the effect he has on
others (Hrabal 72). Yet, as he helps his kneeling boss up after he begs Haňtá to
come to his senses, he says, “I felt him shake all over, so I asked him to
forgive me, without knowing what for, but that was my lot, asking forgiveness, I
even asked forgiveness of myself for being what I was, what it was my nature to
be” (46–47). Though he knows how much he exasperates his boss, he does not know
why, for he is only foolishly living by his own principles. It is his nature to
be so, and by asking forgiveness for this, he demonstrates that he cannot change
this aspect of his character. His noble simplicity shines through in his close
ties with nature. He is affectionate toward the mice in his cellar despite
others’ negative perception of them. He describes them as “playful as kittens”,
saying that “they’re always in a good mood and even look forward to their bath”
when he hoses down the wastepaper to clean it (15, 16). Sometimes, they sneak
into his clothing, and when they jump out at the bar he frequents, “the
waitresses go wild, climb on chairs, stick their fingers in their ears, and
scream bloody murder.” Despite the reaction, he “just smile[s] and wave[s] a wet
good-bye,” thinking of nothing but his next bale (16). His complete disregard
for others’ perception of himself showcases his foolish yet nobly loving
simplicity.

The two characters’ madness can, through the lens of simplicity, be considered a
manifestation of genius. Schiller states, “True genius is of necessity simple,
or it is not genius” (186). Since the characters’ madness is linked to
simplicity, their simple madness can be seen as indicators of their genius. As
stated earlier, Aristotle says poetry is either a product of natural ability or
madness. Thus, poetry is also a product of genius. However, these literary
theories were created in the context of poets and their works. While Don
Quixote, with his dramatic imitations of chivalric prose, and Haňtá, who
embodies both artist and audience, can be loosely classified as poets, they are
also the subjects of literary works. As stated previously, they are mad because
of their deep immersion in their poetic worlds. What happens, then, if it is not
the author who is genius, but the subject of the poem himself?

The genius of the two characters lies in their ability to, as readers
themselves, make their readers mad along with them. The two works’ focus on
readers makes them a metaliterary commentary on the act of reading. If, for the
two protagonists, reading is renunciation of the self, then the reader of these
works also becomes mad for the time they engage with the work and is momentarily
in touch with the characters’ simplicity. Through the vicarious experience of
someone living out their fantasy delusions, we can learn to appreciate the value
of literature beyond academic analysis and the magic it can bring. Literature
comes with the possibility for immersion, escape from harsh realities, and
life-giving thoughts. Literature is an enabler of freedom, but at the same time,
a leverage for oppression through censorship. _Don Quixote_ and _Too Loud a
Solitude_ work to bring a snapshot of madness to the reader’s life through the
simply mad genius of their protagonists.

## Works Cited

- Aristotle, et al. Classical Literary Criticism. Translated by Penelope Murray
  and T. S. Dorsch, Penguin Books, 2004.
- Cervantes Saavedra, Miguel De. Don Quixote. Edited by David Widger. Translated
  by John Ormsby, Project Gutenberg, 1997.
- Hrabal, Bohumil. Too Loud a Solitude. Translated by Michael Henry Heim,
  HarperCollins Publishers, 1990.
- Schiller, Friedrich. “On Simple and Sentimental Poetry.” Aesthetical and
  Philosophical Essays, Anodos Books, 2017, pp. 180–195.
- Photo by
  [Ethan Hu](https://unsplash.com/@ethanhjy?utm_content=creditCopyText&utm_medium=referral&utm_source=unsplash)
  on
  [Unsplash](https://unsplash.com/photos/brown-concrete-building-near-green-trees-during-daytime-0lHeyFUTGWc?utm_content=creditCopyText&utm_medium=referral&utm_source=unsplash)


This essay examines Miguel de Cervantes’s Don Quixote and Bohumil Hrabal’s Too Loud a Solitude to uncover the role of the madman not as the author, but as the protagonist.

Simply Mad Genius: The Impact of the Mad Reader on Readers


Milan Kundera’s novel _The Unbearable Lightness of Being_ explores themes of
love, existentialism, and power dynamics through the stories of four characters:
Tereza, Tomas, Sabina, and Franz. Throughout the narrative, Kundera repeats
motifs of childlikeness and kitsch, especially when talking about love. His
ideas surrounding these topics seem similar to poet Friedrich Schiller’s
perspective in his essay “On Simple and Sentimental Poetry”. Using Schiller’s
essay as a frame of reference, I will examine how Kundera describes love in the
relationships between both people and animals to identify the relationship
between love, simplicity, and kitsch. In _The Unbearable Lightness of Being_,
Kundera designs the dynamics between characters to explore the nuances of power,
relationships, and love. By doing so, he ultimately demonstrates love as
inevitable in the face of simplicity-revealing vulnerability.

In “On Simple and Sentimental Poetry”, Schiller first unpacks why we are
captivated by nature, then categorizes poets as either simple or sentimental. He
argues that our reverence for nature is not due to the aesthetic pleasure it
brings, but rather the moral pleasure stemming from nature being “the image of
our highest perfection in the ideal world”. He goes on to state, “The very
feature that constitutes their character is precisely what is lacking in ours to
make it complete” (181). However, this interest in nature is only possible in a
“moral soul” which is capable of ideas. It is the ideas that objects close to us
evoke “which, causing us to look closer into ourselves, show us more clearly
what in us departs from nature” (182). Children are a prime example of this
phenomenon, as their purity and closeness with nature leave us in awe of "the
contrast between their natural character and what is artificial in us" (183). He
calls this state of nature _simple_ (as opposed to _art_, or artifice). As such,
the simple poet is nature, while the sentimental poet seeks nature (194). Though
Schiller’s essay addresses simplicity and artifice in terms of poets (and, more
broadly, people), morals, and emotions, his philosophical arguments can also be
applied to love as well.

Already viewing his 1795 society as an “artificial age”, Schiller presents a
pessimistic view of the world in his essay (194). He states, “As soon as nature
gradually vanishes from human life—that is, in proportion as it ceases to be
experienced as a subject (active and passive)—we see it dawn and increase in the
poetical world in the guise of an idea and as an object” (191). Schiller’s
“poetical world” refers to poetry’s legacy and its space in society, but we can
narrow this scope to an individual’s poetical world, too, or, as Kundera puts
it, their “poetic memory”. In _The Unbearable Lightness of Being_, Kundera
postulates that “The brain appears to possess a special area which we might call
_poetic memory_ and which records everything that charms or touches us, that
makes our lives beautiful,” just as nature charms and touches us through its
sublimity (208). He then says, “Love begins with a metaphor. Which is to say,
love begins at the point when a woman enters her first word into our poetic
memory” (209). Love enters one’s poetic memory as nature enters poetry as an
idea and object. From this perspective, love and nature share the same qualities
of simplicity that make them worthy of being held dear in a poetic world,
whether societal or personal.

Schiller clearly delineates the scope of “nature” early in his essay, stating
that the “love and respectful emotion” brought on by it is “often elicited when
nature is considered in her plants, in her mineral kingdom, in rural districts;
also in the case of human nature, in the case of children, and in the manner of
country people and of the primitive races” (180). In other words, the nature he
talks about is that which is free from the corrupting influence of his
artificial society. However, since Kundera’s work is a novel exploring different
characters’ perspectives and experiences, the definition of love is not as
clear-cut, especially since it does not adhere to societal conventions. To
uncover Kundera’s implicit perspective, I will first present a synthesis of some
characters’ explicit mentions of love. Then I will dive into Tereza’s
relationships to highlight the nuances of love and its connection to simplicity
and sentimentality.

The narrative in _The Unbearable Lightness of Being_ begins with the origin
story for Tomas and Tereza’s relationship. Though Tomas is a libertine and
initially views Tereza as no more than a fling, she comes down with the flu when
visiting him and is stuck weak and feverish in his bed. Kundera, as the
narrator, says of his situation, “What could it have been if not love declaring
itself to him?” (7). He thinks of her as a child sent to him in a bulrush basket
and feels an “inexplicable love” toward Tereza because “she seemed a child to
him” (6). She ends up staying over at Tomas’s place, something he never does
with his mistresses, and Kundera observes that “Love does not make itself felt
in the desire for copulation (a desire that extends to an infinite number of
women) but in the desire for shared sleep (a desire limited to one woman)” (15).
Tereza is weak with her illness, and sleep is a state of defenselessness. When
facing this situation, Tomas cannot help but feel what he thinks could be love.
Since it declares itself to him, the feeling does not arise of his own volition.
Love, then, is inevitable in the face of vulnerability.

Though not explicitly stated, Kundera consistently repeats this sentiment of
vulnerability being necessary for love. Vulnerability is necessary mutually, for
the person falling in love, and for a person to be loved. In Franz and Sabina’s
relationship, Franz says “love means renouncing strength” (112). Though they had
differing definitions for all aspects of their life, Kundera speculates that,
had they more time or different circumstances, “Gradually, timorously, their
vocabularies would have come together, like bashful lovers, and the music of one
would have begun to intersect with the music of the other” (124). They could
have fallen in love and understood each other if they had renounced the strength
of their egos and let down their defenses to allow their music to intersect, if
they had been vulnerable with one another.

When having a casual affair with a stranger, Tereza “tried to withstand the
strong desire to burst out crying in his presence. She knew that her failure to
withstand it would have ruinous consequences. She would fall in love with him”
(157). This moment underscores the idea that vulnerability is a powerful and
involuntary trigger for love. Tereza's instinctive reaction to cry in front of
the stranger highlights her innate desire to express authentic emotions despite
the potential consequences. By doing so, Kundera suggests that love can arise
from moments of intense emotional exposure. Thus, being fully vulnerable in
front of another is enough to cause the sparks of love.

Finally, later in her life, Tereza dreams that Tomas becomes a rabbit,
symbolizing his lack of strength as he ages. At this point, he has moved to the
countryside for her and lost everything he had in the city, including the erotic
friendships he so loves. When Tereza apologizes for taking advantage of him by
leveraging her weakness, he says, “Haven’t you noticed I’ve been happy here,
Tereza?” The two dance together on a dance floor in a hotel bar, content in
their old age and relationship (313). Tereza is always jealous and anxious about
Tomas’s erotic affairs with other women, and thus cannot be fully comfortable in
his presence no matter how much she loves him. And it is questionable how much
she really does, as “she was _obliged_ to behave lovingly because she needed
him” (289). However, once the power dynamics between them break down, Tereza can
finally love Tomas with no reservations because of his vulnerability. Her wish
from their conflict in Switzerland finally comes true: he becomes an old man,
weak before her. His essence is completely now completely bare. Since
vulnerability is weakness, defenselessness, and transparency, it reveals one’s
unembellished, essential nature. Simplicity (the simple poet, or lover, _is_
nature), then, even if only before one person, is necessary for love, and real
love is necessarily simple.

Tereza, the child in the bulrush basket, is the perfect embodiment of a simple
lover’s dynamic evolution. Throughout the novel, she first falls from
simplicity, then becomes sentimental, and finally returns to simplicity before
her death. Her melancholic sentimentality in her complex situation mirrors
Schiller’s pessimism toward the survival of simplicity in a society of artifice.
In his essay, he writes,

> The poets of this order,—the genuinely simple poets, are scarcely any longer
> in their place in this artificial age. Accordingly they are scarcely possible
> in it, or at least they are only possible on the condition of traversing their
> age, like scared persons, at a running pace, and of being preserved by a happy
> star from the influence of their age, which would mutilate their genius. (194)

There is no place for simplicity in modernity. That which is simple quickly gets
corrupted by its surroundings. For Schiller’s simple poet, the surrounding is an
artificial society. For Tereza, it is her incompatibility with Tomas despite
their mutually proclaimed love.

Tereza begins as a symbol of simplicity but quickly loses this trait as her
relationship with Tomas progresses. Tomas initially attracts Tereza because,
when he “called out to her in a kind voice”, she “felt her soul rushing up to
the surface through her blood vessels and pores to show itself to him” (48). Due
to her traumatic experience with her mother’s exhibitionism and crudeness, she
longs for someone who would see her soul to differentiate her body from other
bodies (58). Yet, to Tomas, all bodies are the same, and he is “genuinely
incapable of abandoning his erotic friendships” (21). This destroys Tereza and
dissolves her hopes. She screams during intercourse with him, where “What was
screaming in fact was the naïve idealism of her love trying to banish all
contradictions, banish the duality of body and soul, banish perhaps even time”
(54). There is a rift in their perspectives: Tereza wants her soul to shine
through her body, while Tomas views body and soul as separate. He loves Tereza’s
soul, but Tereza wants to be loved in totality. Her love’s naïve, or simple,
idealism screams out its final breath (other English versions of Schiller’s
essay translate “simple” as “naïve”). The contradictions she experiences are the
overturning force knocking her from her flying vessel of naïve hope and into a
state of a perpetual fall.

As Schiller observes, “Simplicity in our mode of thinking brings with it of
necessity simplicity in our mode of expression, simplicity in terms as well as
movement; and it is in this that grace especially consists” (187). Yet, after
discovering Tomas’s unfaithfulness, Tereza’s “gestures grew abrupt and
unsteady”, implying that her movements had been smooth and graceful before,
further highlighting her initially simple nature outside of Tomas’s perception.
After becoming entangled with Tomas, “There was no way out” for her (21). This
admission and acceptance of the tragic situation is a good representation of her
melancholy, which colors the tone of her sentimentality.

After becoming disillusioned with her and Tomas’s relationship, Tereza becomes
sentimental and, instead of _being_ nature, _seeks_ nature instead through her
relationship with Karenin, her and Tomas’s dog. Karenin, as an animal, is simple
and pure, and Kundera explicitly portrays him as so when he wakes up every
morning with “a naïve and simple amazement” at existence (132). She loves
Karenin wholly and unconditionally. “True human goodness, in all its purity and
freedom, can come to the fore only when its recipient has no power,” Kundra
writes, again highlighting the necessity of simplicity-revealing vulnerability
in love (289). Karenin becomes Tereza’s anchor to replace her lost simplicity
and wonder. Tereza seeks nature by loving him.

If Tereza represents evolving simplicity, then Tomas represents the subject
experiencing her simplicity in his poetical world. As Schiller mentions, nature
can only exist as an object in a poetical world, and no longer as an active or
passive subject, as it vanishes in society. Tomas is by no means simple. He is
described as a strong and independent libertine, and his character does not
experience Tereza’s initial level of simplicity as a subject. He is instead
pessimistic and cynical, concluding “that the love story of his life exemplified
not ‘_Es muss sein!_’ (It must be so), but rather ‘_Es könnte auch anders sein_’
(It could just as well be otherwise)” (35). His character and perspective make
his love for Tereza sentimental, as he is aware of how his decadent behavior
contrasts with Tereza’s naïve goodness yet is unable to change despite knowing
how much it hurts her (21). Her simplicity highlights his own impurity, and he
loves her for it. However, as Tereza loses her childlikeness, his sentimental
love no longer has a basis, and thus Tereza dreams that he sends her to die — in
her fallen state, she is no longer lovable to him (146–151).

As described earlier, Tereza is able to love Tomas after he becomes weak, and
they live a simple, rural life on a collective farm. Miraculously, years after
Tereza’s fall and loss of child-like charm, Tomas finally embodies the same
simplicity-revealing vulnerability that Karenin represents by becoming a rabbit
in Tereza’s mind. Thus, her character comes full circle, and she returns to
simplicity, if only briefly, before she and Tomas die in a car accident driving
home. This moment becomes the eternity of love that they had been seeking their
whole lives with each other, as both simple lovers’ natures finally align.

Tereza and Tomas’s relationship, as well as Kundera’s observations as the
narrator, reveal that real love corresponds to Schiller’s simplicity of nature.
Then, Schiller’s artifice corresponds to Kundera’s descriptions of kitsch in the
novel. When introducing the term, Kundera defines it as so:

> ’Kitsch’ is a German word born in the middle of the sentimental nineteenth
> century, and from German it entered all Western languages. Repeated use,
> however, has obliterated its original metaphysical meaning: kitsch is the
> absolute denial of shit, in both the literal and the figurative senses of the
> word; kitsch excludes everything from its purview which is essentially
> unacceptable in human experience. (248)

In other words, kitsch distills the human experience into something artificially
palatable by deeming natural bodily functions as crude and unacceptable — it is
the epitome of artifice.

However, this conception of kitsch introduces tension into the theory that real
love is simple. Kundra states that “The identity of kitsch comes not from a
political strategy but from images, metaphors, and vocabulary” (261). So, is
love also kitsch, then, given Tomas falls in love with Tereza because of a
metaphor? And if it is kitsch, or artificial, how can it also be simple? To
reconcile such a contradiction, I propose that the experiences surrounding love
can be separated from the experience of love itself. Experiences adjacent to
love can be kitsch, but the essence of love is simple — the feeling itself is
simple. The kitsch of a metaphor is transformed into nature the moment it enters
the poetic memory, much like how “In the sunset of dissolution, everything is
illuminated by the aura of nostalgia, even the guillotine” (Kundera 4). Once an
event or thought passes, it gains a new nostalgic identity. The metaphor is no
longer experienced as a subject, but as an object for the sentimental lover, or
Tomas.

While Schiller views artifice as negative in his essay, Kundera maintains a
neutral stance on kitsch. He condemns it using Sabina’s character but admits
that “none of us is superman enough to escape kitsch completely. No matter how
we scorn it, kitsch is an integral part of the human condition” (256). Though
kitsch is a corrupting force, it is also a necessary element of being human.
Tomas and Tereza fall into kitsch with their mutually repellent sentimentality,
Tomas’s metaphor, and Tereza’s abandonment of herself when she sleeps with the
anonymous engineer (154). However, once all the kitsch elements are removed in
their simple, rural life, the revealed essence of their love is ultimately
simple. Love in _The Unbearable Lightness of Being_ begins with kitsch but
transcends it in the end.

By following the growing pains of a simple love between Tereza and Tomas in _The
Unbearable Lightness of Being_, Kundera demonstrates that love is inevitable in
the face of simplicity-revealing vulnerability. Love is like nature because the
lover enters as an object in one’s poetic memory, much like how nature enters as
a sentimental object in the poetic world. This notion is especially prominent in
the novel, as Kundera frames vulnerability and weakness as necessary for love,
for it reveals one’s nature. Though moments of Tereza and Tomas’s relationship
can be viewed as kitsch and artificial, the essence of their love remains
simple. They finally end their lives with a healthy love as they both love in
alignment with the other – they become weak together, and thus, happy.

## Works Cited

- Kundera, Milan. The Unbearable Lightness of Being. Translated by Michael Henry
  Heim, Harper & Row, Publishers, Inc., 1984.
- Schiller, Friedrich. “On Simple and Sentimental Poetry.” Aesthetical and
  Philosophical Essays, Anodos Books, 2017, pp. 180–195.
- Photo by
  [Evie S.](https://unsplash.com/@evieshaffer?utm_content=creditCopyText&utm_medium=referral&utm_source=unsplash)
  on
  [Unsplash](https://unsplash.com/photos/closeup-photo-of-white-leaves-Sw7f58YJbc0?utm_content=creditCopyText&utm_medium=referral&utm_source=unsplash)


In The Unbearable Lightness of Being, Kundera designs the dynamics between characters to explore the nuances of power, relationships, and love. By doing so, he ultimately demonstrates love as inevitable in the face of simplicity-revealing vulnerability.

The Necessity of Simplicity-Revealing Vulnerability in Love

A post-human dystopia where a dutiful but curious automaton discovers the last remnants of humanity on Earth. A personal favorite work of mine.

The Record of Us All


This exerpt is from a project vision and scope document for a drone fleet
management system, written for the INFO 380: Product and Information System
Management.

---

## Non-Functional Requirements

### Scalability

We aim to develop a system with future growth in mind. Therefore, the system
must have a modular architecture and optimized performance and meet the
following requirements:

- **SCA-1**: The system shall be able to accommodate annual growth of 10% new
  drone fleets a year across different wind farm locations without
  user-perceptible performance degradation.
- **SCA-2**: The system shall scale to handle simultaneous maintenance on at
  least 50% of the wind turbines at any given location for at least 60 minutes.

### Availability

During working hours, maintenance technicians and other stakeholders must access
the system to schedule maintenance, deploy drones, and view real-time data to
make relevant decisions. Thus, the system must be highly available during
working hours, and at least available most of the time beyond working hours in
case of emergencies. The system does not have to be as strictly available
outside of working hours, as technicians are not actively scheduling and
analyzing maintenance. Since 100% availability would be unrealistic and put
unnecessary strain on WindTech’s budget, we instead strive for at least 99%
availability during critical hours to balance the request for “high
availability” and resource constraints. The system must be able to meet the
following availability requirements:

- **AVL-1**: The system must be at least 99% available on weekdays between 8
  a.m. and 5 p.m. GMT+1 on weekdays, and at least 95% available on weekdays
  between 5 p.m. and midnight GMT+1.
- **AVL-2**: Scheduled maintenance scheduled for Sundays between 8 p.m. and 3
  a.m. GMT+1 does not count toward the calculation of availability.
- **AVL-3**: WindTech shall inform employees one week before scheduled
  maintenance.
- **AVL-4**: A user shall not be able to access the system during maintenance
  and downtime, and shall instead be shown a message indicating when the system
  is expected to resume operation.

### Interoperability

The DFMS will be integrated with existing WindTech systems, thus we must ensure
compatibility and functionality across different platforms. Since employees must
sign into different systems depending on their tasks, single sign-on (SSO)
support is necessary for consistency and security (see "Security Needs"). The
DFMS must integrate with maintenance scheduling, weather forecasting, inventory
management, reporting, training, and more. Therefore, data exchange capabilities
and API compatibility are crucial.

- **IOP-1**: Requests made to APIs outside of the DFMS to other WindTech systems
  shall return results within 5 seconds 99% of the time.
- **IOP-2**: The DFMS API shall respond to external requests within 5 seconds
  99% of the time.
- **IOP-3**: The DFMS API shall throw specific error codes, messages, and
  appropriate responses.
- **IOP-4**: A user shall log into the DFMS using the same single sign-on login
  information to access WindTech system information.
- **IOP-5**: The system shall be able to export data in CSV and JSON formats.
- **IOP-6**: The DFMS API shall keep an audit trail of API transactions for up
  to one week.
- **IOP-7**: The DFMS API and related systems shall adhere to RESTful API
  standards (see "RESTful APIs").
- **IOP-8**: In the case of concurrent data updates, the DFMS shall check for
  inconsistencies and, if found, throw an error requesting the user to conduct
  manual verification.

### Sustainability

See "Environment and Noise Regulations" for more environmental sustainability
requirements; this section will focus on sustainable IT (SIT) practices.

Green IT practices are increasingly crucial, as cloud computing produces up to
3.7% of global greenhouse gas emissions, exceeding that of commercial flights
(Lavi, 2022). To ensure sustainability, the DFMS must meet the following
requirements:

- **SIT-1**: The system shall use a data center that can achieve a power usage
  efficiency (PUE) of 1.2 or less and is located in a region with abundant
  access to renewable energy (National Renewable Energy Laboratory, n.d.).
- **SIT-2**: The system shall prohibit consecutive transmissions of redundant
  data within 10 seconds to minimize network usage.
- **SIT-3**: Drones shall not be operated in inclement weather or harsh
  conditions, and shall be regularly maintained (see also SEC-8), to maximize
  their lifespan.

### Security

Data security is crucial for the DFMS to ensure the integrity and
confidentiality of operational data, prevent unauthorized access, protect
against cyber threats, comply with local and federal regulations, and enable
future capability expansions.

To secure data, the DFMS should adhere to the following requirements:

- **SEC-1**: Data transmission between drones, ground control stations, and
  services within the DFMS, such as scheduling and maintenance logs, shall be
  encrypted end-to-end.
- **SEC-2**: The system shall back up data daily at midnight.
- **SEC-3**: A user shall only be able to log into the DFMS if they have
  two-factor authentication.
- **SEC-4**: A user shall be able to log into the DFMS using WindTech SSO.
- **SEC-5**: Only users who have Maintenance Technician or Operation Manager
  permissions shall be able to operate the DFMS.
- **SEC-6**: Only users who have Maintenance Technician or Operation Manager
  permissions shall be able to unlock doors to drone storage areas using a
  security badge.
- **SEC-7**: The VP of Operations shall conduct compliance checks and audits
  once every three months.
- **SEC-8**: Operation Managers shall update drone firmware and software and
  conduct physical maintenance monthly to mitigate risks of malfunction.
- **SEC-9**: Drones shall be authenticated before being integrated into the
  DFMS.
- **SEC-10**: Drones shall not be able to fly further than the geographical
  boundaries of WindTech wind farms.
- **SEC-11**: Maintenance technicians shall conduct spectrum monitoring every 30
  minutes when drones are deployed.
- **SEC-12**: If external interference is detected, drone operations shall be
  paused until the source of interference is verified and removed.

Doing so will protect data and prevent unauthorized drone operations. In
addition to the above requirements, WindTech should:

- Use secure, cloud-based solutions, such as Amazon Web Services (AWS) or
  Microsoft Azure, for storing and analyzing sensitive data such as inspection
  reports, maintenance logs, and data collected during drone operations.
- Establish contingency plans in the case of drone malfunctions or external
  threats with the collaboration of the Chief Security Officer and VP of
  Operations.

## Standards and Compliance

### RESTful APIs

REST stands for Representational State Transfer, and following RESTful API
standards can help ensure system scalability, flexibility, and independence.
Compliant APIs adhere to the following principles:

- Uniform interface, where the server returns information in a standardized
  format
- Statelessness, where client requests are completed independently
- Layered system, where the API can work with several servers with multiple
  components
- Cacheability, where the client can store some server responses to improve
  response time
- Code on demand, where the software code can be temporarily transferred to the
  client (Amazon, n.d.).

### Accessibility Guidelines

To ensure the accessibility of materials relating to the DFMS project,
developers must address the following requirements:

- **USE-1**: All drone pilot training materials in audiovisual formats must have
  transcripts and closed captions.
- **USE-2**: The information hierarchy in human-machine or human-system
  interfaces must be programmatically determinable through proper formatting,
  tagging, and labeling such that they are navigable by screen-reader or other
  access technologies.
- **USE-3**: Crucial information, such as warnings and confirmation dialogues,
  shall be delivered with textual identification in addition to sensory
  characteristics, like size, color, and sound.
- **USE-4**: Text and images shall have a contrast ratio of at least 4.5:1.
- **USE-5**: Text shall be able to be resized up to 200% without additional
  assistive technologies.

Since system warnings are crucial to upholding the safety of wind turbine
operations, warning messages and confirmation dialogues must be completely
accessible to individuals of all abilities. Additionally, computer interfaces
shall adhere to basic accessibility guidelines as dictated by the Web Content
Accessibility Guidelines (WCAG) 2 (Web Accessibility Initiative, 2023).

### Drone Regulations & Safety Requirements

Drones are considered unmanned aircraft systems. Because drones used for wind
turbine maintenance fly close to large structures and may require complex flight
patterns, they are classified under the “Specific” category. Operations in this
category are regulated by Unmanned Aircraft System (UAS) Regulation (EU)
2019/947 Annex A Part B. To comply with the requirements, we must ensure the
following:

- **SAF-1**: WindTech shall apply for operational authorization with the
  registration number of the drone operator, the name of the accountable manager
  or operator, an operational risk assessment, a list of measurable risk
  mitigation measures proposed by the operator, an operations manual, and a
  confirmation of appropriate insurance coverage.
- **SAF-2**: Drone pilots shall complete training before operating drones in
  areas such as situational awareness and error management; organizational
  safety culture, operational procedures, and organizational structure; stress
  management, fatigue, and vigilance; decision-making; automation and philosophy
  of the use of automation; specific UAS type-related differences; case-based
  studies; and drone piloting basic skills.
- **SAF-3**: WindTech shall keep records of drone pilots’ training courses and
  qualifications for at least three years after they cease employment.
- **SAF-4**: Interfaces for drone operations shall minimize the risk of pilot
  error by providing clear, intuitive, and distinguishable labeling and cause
  minimal fatigue.

The regulation outlines more guidelines that WindTech shall adhere to in its
operations, but the above constraints are most relevant to the scope of our DFMS
project (European Union Aviation Safety Agency, 2022, pp. 309–320).

### Environment and Noise Regulations

The EU defines 55 dB as the threshold for noise exposure, measured as an annual
average between day, evening, and night. However, noise levels above 40 dB are
known to harm wildlife. Regulations do not impose limit values but rather
dictate reporting thresholds. Governments must map noise levels, create action
plans, and designate quiet areas. Most established guidelines and regulations
focus on transport and industry sources, though some countries also have
specific regulations for wind turbines (European Environment Agency, 2020).

Though there are no formal regulations for drone noise levels, these guidelines
serve to help WindTech anticipate future policy developments and operate in good
faith to protect the environment.

To best adhere to these guidelines, the DFMS shall adhere to the following
constraints:

- **ENV-1**: Drones deployed for wind turbine inspections shall not fly through
  government-designated quiet areas.
- **ENV-2**: Drones operated by WindTech should not generate noise that exceeds
  55 dB at ground level, measured following the European Union Aviation Safety
  Agency’s (EASA) noise measurement guidelines.

#### EASA Noise Measurement Guidelines

Typically, drone manufacturers can measure drone noise levels according to EASA
guidelines and voluntarily provide the data. However, if the manufacturer does
not provide compliant noise ratings for its product, WindTech can refer to the
EASA’s Guidelines on Noise Measurement of Unmanned Aircraft Systems Lighter than
600 kg Operating in the Specific Category (Low and Medium Risk) for testing
conditions, including terrain, obstacles, temperature, humidity, precipitation,
windspeeds, and procedures (European Union Aviation Safety Agency, 2023).

### General Data Protection Regulation (GDPR)

Besides employee data, the drone project may also inadvertently collect civilian
personal data, such as faces, house fronts, and vehicle registration plates
(DroneRules.eu, 2018). To comply with the EU’s GDPR, the DFMS project must
adhere to the following requirements:

- **SEC-13**: DFMS administrators shall maintain detailed documentation of
  collected data to present to regulatory authorities if necessary.
- **SEC-14**: Only users with Operation Manager and Safety Officer permissions
  shall have access to employee training histories.
- **SEC-15**: In addition to safety training, drone operators shall also
  complete data privacy training (Wolford, n.d.).
- **SEC-16**: Drone operators shall delete any footage that collects personal
  data irrelevant to wind turbine inspection, including, but not limited to,
  faces, house fronts, and vehicle registration plates.

---

Photo by
[Karsten Würth](https://unsplash.com/@karsten_wuerth?utm_content=creditCopyText&utm_medium=referral&utm_source=unsplash)
on
[Unsplash](https://unsplash.com/photos/white-windmills-on-green-grass-field-under-white-clouds-and-blue-sky-ZKWgoRUYuMk?utm_content=creditCopyText&utm_medium=referral&utm_source=unsplash)


Non-functional requirements for a drone fleet management system (DFMS)

WindTech DFMS — Technical Writing


![Banner for Umwelt](/img/posts/umwelt/thumbnail.png)

[View the project website here](https://umwelt.vercel.app/) — I designed and
implemented this website, it was really fun to do these animations with GSAP!

## Inspiration

Burnout is a prevalent issue in today’s fast-paced society, as highlighted by
Byung-Chul Han in his book The Burnout Society. Burnout is not a medical
diagnosis. Rather, it is characterized by intense emotional exhaustion. This is
caused by the productivity-focused, auto-exploitative society, as well as the
information overload that comes with social media. Space today seems to be less
“grounded” and more “virtual”. To combat this, we hope to provide uninterrupted
time through Umwelt to help people recenter and revitalize. We provide small
milestones for people to accomplish in a gamified manner. We chose walking
through nature as an activity due to its accessibility and effectiveness,
though, if we had more time, we would like to consider the design question of
“how can we accommodate those who are not able-bodied or do not have safe
communities to walk in?” Though we recognize that this is a systematic issue, we
hope to make incremental changes through micro-interventions like Umwelt.

## What it does

Block out distractions with Umwelt and enjoy a hero’s journey through nature.
During your walk, you will unlock various encounters in your surroundings. Look
out for and capture these moments and absorb the beauty of the spaces around
you.

Burnout is the opposite of vitality — it is utter exhaustion. Through Umwelt, we
hope to reshape individual perceptions of experiences and reality to revitalize
daily life. In doing so, we hope to drive transformation in modern productivity
culture and curb the development of a burnout society.

## Mission

To revitalize society by finding little moments of magic in nature

## Vision

Encouraging sustainable and balanced lifestyles It can be difficult to swim
against the currents of social media in an age of constant information overload.
With Umwelt, we can embark on an adventure of mindset transformation to move
towards a balanced life.

## Transforming experiences to enhance our collective vitality

Let’s take a moment to reshape our interactions with the spaces we inhabit to
nourish our physical, mental, and spiritual vitality.

## Becoming able to simply exist

What does it mean to live a “good” life? Taking a walk in nature is
“unproductive” by societal standards, which is precisely why we should do it: to
relish in the art of lingering and of simply being.

## How we built it

Our team collaborated on the low-fidelity design process, then began to branch
off into high-fidelity design (Annie and Stephanie), research and web
development (Bella), and iOS development (Sean). Annie and Stephanie worked with
Figma and Adobe Illustrator; Bella worked with Next.js, GSAP, SASS, and
Bootstrap; and Sean worked with Swift. We maintained open communication and
discussion throughout the process to ensure we stayed on the right track and
adhered to our initial visions.

## Challenges we ran into

As a team, our main challenge was brainstorming ways to use technology to
encourage independence from it. For Sean, it was challenging to learn how to use
iOS frameworks for the camera and map under time constraints. For Annie and
Stephanie, the linear user flow was challenging due to being different from what
you’d expect from a typical app.

## Accomplishments that we're proud of

This is our first in-person hackathon experience, so we are proud of coming this
far under immense time pressure. Our ideation process was highly enjoyable, and
we are proud of stepping out of our comfort zones to design an experience rather
than a tool. We also figured out our strengths quickly and adapted to fit them
into the creation process.

## What we learned

So much… The design team learned how to animate boxes, Sean learned iOS
animation and frameworks, Bella learned new front-end animation and interaction
techniques, and we all learned how to collaborate within a cross-functional
team.

## What's next for Umwelt

We hope to expand Umwelt further as a personal project. After developing an MVP,
we would like to have people test it and start gathering user feedback.

## Development report

### 1. brainstorming

We kicked off our hackathon session by first identifying the track, and then the
related problem spaces that we were interested in. We decided to approach
vitality from four perspectives: physical, mental, emotional, and spiritual. We
realized, however, that many of these areas overlap, and that vitality extends
to all areas of life. Our favorite ideas were burnout society, time in nature,
and sustainable knowledge, so we discussed these areas more in-depth, then
proceeded to research and design.

![Brainstorming](/img/posts/umwelt/brainstorm.jpg)
![Narrowing down](/img/posts/umwelt/narrowing-down.jpg)

### 2. problem space

Burnout is a prevalent issue in today’s fast-paced society, as highlighted by
Byung-Chul Han in his book _The Burnout Society_. Burnout is not a medical
diagnosis. Rather, it is characterized by intense emotional exhaustion. This is
caused by the productivity-focused, auto-exploitative society, as well as the
information overload that comes with social media. Space today seems to be less
“grounded” and more “virtual”. To combat this, we hope to provide uninterrupted
time through _Umwelt_ to help people recenter and revitalize. We provide small
milestones for people to accomplish in a gamified manner, as maps and
gamification are proven to be effective design choices to incentivize activity.
We chose walking through nature as an activity due to its accessibility and
effectiveness, though, if we had more time, we would like to consider the design
question of “how can we accommodate those who are not able-bodied or do not have
safe communities to walk in?” Though we recognize that this is a systematic
issue, we hope to make incremental changes through micro-interventions like
_Umwelt_.

### 3. process

#### 3.1 design

[View our Figma wireframes here](https://www.figma.com/file/9X5AabfVYMBYkwerbrBOYy/DubHacks-23'?type=design&node-id=32%3A1400&mode=design&t=Ziw28LGMl86lQXhO-1)

We were inspired by Taiwan Design Expo and other minimalistic, whimsical designs
for our branding.

![Design inspiration](/img/posts/umwelt/inspiration.jpeg)

#### 3.2 iOS development

We worked on design and development simultaneously to cover more ground as a
team.

![Development](/img/posts/umwelt/development.jpeg)

### annotated bibliography

Key: 💡= applications to our intervention

Powell, K. Work–life balance: Break or burn out. Nature 545, 375–377 (2017).
https://doi.org/10.1038/nj7654-375a

- Burnout is not a medical diagnosis
  - Overwhelming fatigue
  - Loss of motivation
  - Chronic stress
  - Frustration
- Can lead to depression
- “The type of break doesn’t matter”

Grant, Adam. “Feeling Blah During the Pandemic? It's Called Languishing.” The
New York Times, 3 December 2021,
https://www.nytimes.com/2021/04/19/well/mind/covid-mental-health-languishing.html.

- Languishing
  - Stagnation
  - Emptiness
- Mental health as a spectrum from depression to flourishing
- Languishing: middle point, absence of well-being
- Coined by Corey Keyes
- Combat through flow
  - Dissolving sense of time, place, and self
  - Enjoyable experiences, meaningful work
  - Created through focus
    - → 💡 Umwelt aims to do this by allowing users to recenter
      - Uninterrupted time
      - Small goals

Danell J. Haines PhD , Liz Davis MA, CPT , Patrice Rancour MS, RN, CS , Marianne
Robinson BS, CHES , Trish Neel-Wilson BSN, CDE, CES & Susan Wagner DVM, MS,
DACVIM (2007) A Pilot Intervention to Promote Walking and Wellness and to
Improve the Health of College Faculty and Staff, Journal of American College
Health, 55:4, 219-225, DOI: 10.3200/JACH.55.4.219-225

- Walking can positively impact BMI, blood glucose, and cholesterol levels
  - Easy and sustainable way to promote health and well-being
  - 💡 Accessible to implement in walkable communities
    - Challenge: how can we accommodate for those who are not able-bodied or
      whose communities are unsafe to walk in?

Craig, Geoffrey, and Wendy Parkins. Slow Living, Bloomsbury Publishing
Plc, 2006. ProQuest Ebook Central,
[https://ebookcentral.proquest.com/lib/washington/detail.action?docID=1643848](https://ebookcentral.proquest.com/lib/washington/detail.action?docID=1643848).

- Space seems less “grounded” and more “virtual”
- "Slow living is not a counter-cultural movement: it does not propose the
  establishment of alternative spaces but the transformation of the spaces we
  currently inhabit." (62)
  - → 💡We aim to reshape our interactions with the spaces in our communities to
    promote sustainable practices of physical, mental, and spiritual vitality.
  - Community spaces in daily life are often taken for granted
- "At the heart of slow living is a certain 'mindful' consciousness where
  activities, practices, and encounters are invested with care and attention and
  such a consciousness requires particular spatial contexts as much as it
  requires a slow temporality." (63)
  - “space is a profoundly social phenomenon” (63)

Bo Han (2018) Social Media Burnout: Definition, Measurement Instrument, and Why
We Care, Journal of Computer Information Systems, 58:2, 122-130, DOI:
10.1080/08874417.2016.1208064

- Three sub-dimensions of social media burnout
  - User’s ambivalence
  - Emotional exhaustion
  - Depersonalization
    - E.g. taking a “Facebook vacation”
- Causes
  - Feeling anxious about being overwhelmed by information
    - Information and social overload
    - Unable to find resolution to mediate pressure
      - Hard to escape cycle
        - Social media as a complement to offline social networks
          - Can overtake in priority
        - Expensive termination cost to something that took a long time to build
          (e.g. online network)
  - Wanting to disconnect from social media, taking vacations from it
- Burnout: emotional exhaustion
- Burnout and gratification can co-exist
  - → 💡Striking a fine balance by providing gamified, yet mindful breaks

“Let's all get up and walk to the North Pole: design and evaluation of a mobile
wellness application.” _Proceedings of the 6th Nordic Conference on
Human-Computer Interaction: Extending Boundaries_, 2010, pp. 3–12,
https://dl.acm.org/doi/abs/10.1145/1868914.1868920.


Block out distractions with Umwelt and enjoy a hero’s journey through nature.

#featured

Simply Mad Genius: The Impact of the Mad Reader on Readers

The Necessity of Simplicity-Revealing Vulnerability in Love

The Record of Us All

WindTech DFMS — Technical Writing

Umwelt — Product Management, Marketing, Web Development