The Ogee & Manaia

Reece King’s exhibition The Ogee & Manaia, at the Hocken Library until 1st August, is big and busy and bustling and painterly. It’s a lot of fun. The works all gesture invitingly towards representation, but never quite get there. They invite interpretation. There’s a lot of everything: colour, shape, canvas, line. Some of the paintings look as if they might just have been pieces of graffiti on a stretch of city concrete, and then another look cancels the thought and they seem elegant, poised, ready. It’s exhuberant. It’s so much.

And what a title! A manaia, in Tina Makereti’s words, is a human form but one “going between the earthly and the spirit forms”. It’s a “figure of transformation and communication”. And as for the ogee . . . Chambers glosses it as “an S-shaped curve or line”. The OED has it as “an arch whose curve is formed by two S-shaped or double curves meeting at its apex” (it’s a word more than 700 years old). __Ogee __was the name of the doomed style magazine Nick Guest and Wani Ouradi worked on in Hollinghurst’s The Line of Beauty. Nick felt that it was time for a new Analysis of Beauty as he traced the bend along his lover’s back. Hogarth’s Analysis of Beauty mentions the ogee as “entirely composed of waving lines”. Oh Gee! OMG. Is King the O.G.?


Designing for friction. Vivienne Ming in the FT:

“A Harvard study published in 2019 captured this in a single, counterintuitive finding. Students challenged to wrestle with problems learnt significantly more than those in traditional lectures, yet they reported feeling as if they had learnt less. Our brains mistake the smooth, fluent sensation of being told something — whether in a lecture hall or by AI — for the harder, messier process of actually learning. And generative AI is the most fluent thing that humans have ever built.

To resist that requires choosing productive discomfort: being wrong, or doing the unglamorous work of interrogating an answer that looks correct.”


“It would seem, therefore, that the real objective of the Crown’s proposals is to reduce the legislative Treaty protections available to Māori”: Carwyn Jones’s evidence to the Waitangi Tribunal on proposals that “will, if enacted, constitute the most wide-ranging legislative breach of Te Tiriti in modern history.”


the dearest freshness deep down things

Zealandia by night! Last night, in fact. Not more than five minutes' walk from the entrance, we saw a kiwi pukupuku nosing it about in a ditch. Stopped by a bit of fencing and saw a wētā punga (Cook Strait giant weta). Wandered for a while and were shown, peeking out from a wee bit hole in a tree, the eye of a moko kakariki / green gecko. All in walking distance of the Parliament buildings in a capital city. Glorious.


If you have ‘40 000 words of your own original materials’ to hand you can always use them to, uh, write your own work. It’s not just that I don’t want CoPilot to write my emails or summarise documents for me or any of the other nonsense (I want it to leave me alone). If it’s your ‘extensive base of knowledge’ (what are these words!): you can summarise it yourself. That’s hard sometimes, sure; it’s also fun. And it’s how ideas happen.

Sydney academic used AI to write SMH opinion piece urging students to avoid using tech to ‘cut corners’ - The Guardian report on Western Sydney’s Pro Vice Chancellor for Quality and Integrity (I know) and her, subsequently withdrawn, CoPiloted _Sydney Morning Herald _ column.

There are basic, foundational, fundamental questions about quality and integrity raised in this article and in the responses quoted in it.


Anne Kennedy picks Bill Manhire’s ‘An Inspector Calls’ at NZ Poetry Shelf for ‘playing favourites’. She praises ‘the jazzy sound of it, the funny rhyme at the beginning, the noir feel, the angular look’. Yes!

Readings on Lygon Street in Carlton used to sell the London Review of Books, and I’d pick up a copy every second month or so and read it at the pub across the road, on the corner of Lygon and Elgin Street. What was it called? I can’t remember. That, I’m sure, is where I first read Manhire’s poem - in that pub, printed in that paper - and the last line stuck with me since then. A Peter Steele poem from the same year - published in The Age? - ended, I’m sure, with the line ‘but this is Carlton’. I’ve never been able to find it since, and don’t know if I’ve imagined it now.

The pub is a vegan restaurant now, the tatty and cavernous second-hand book store that was next door to it burned down. Readings, last time I went, don’t stock periodicals:

There’s always a point at which a routine enquiry

turns into something else entirely


‘Despite the braying of the tech elite, we still have agency. We still have a choice. Players with many billions at stake have a vested interest in removing your agency, and reclaiming it hurts their bottom line. There’s no way to say for certain who will be right about AI in the end, but the current evidence points towards disaster. And it’s safe to acknowledge it.’ Marisa Kabas with some good hating.


‘The speed of the digital world connives to make us feel ashamed of certain sorts of slowly won knowledge. But to persist in caring about books, and to do so in the face of those who tell us not to, is to fight for a world that takes knowledge seriously. That fight will have to happen on many fronts; preserving the library alone will not rescue reading. But it is a good place to begin.’ Sheila Liming on ghost libraries.


‘So, why save the university?’ Lorna Finlayson on the how the British university is dying, and the ‘colossal and entirely avoidable act of self-harm on the part of a country [Britain] whose higher education sector has until recently been one of the few things it had going for it’


More from Magnifica Humanitas:

‘We must, then, avoid the “Babel syndrome,” namely the idolatry of profit that sacrifices the weak, a uniformity that neutralizes differences, and the pretense that a single language — even a digital one — can translate everything, including the mystery of the person, into data and performance. The risk of dehumanization — of building a future that excludes God and reduces the other to a means — is an ancient and ever-new temptation that today takes on a technical guise. Instead, let us choose the “way of Nehemiah,” which highlights the importance of working together to make the City of God a safe place for returning exiles. Rebuilding today means recognizing that, precisely from the plurality of voices and visions which, even though they sometimes remind us of the confusion caused by the diversity of spoken languages, a bright possibility emerges. Indeed, this is the possibility of building together, of transforming diversity into a resource and of making listening and dialogue the common ground upon which to cultivate justice and fraternity. Within this shared task, Christians discover their unique role of guiding actions toward God so that, in his light, pluralism does not dissipate into disorder, but instead, through the practice of synodality, it becomes the space in which humanity rediscovers its solid foundations and its final end.’


Texts read us, and genres train and programme their readers. Some of the basic questions from literary studies playing out now across extra-literary human relations, and in ever more worrying ways. This from Myra Cheng and Dan Jurafsky’s work at Stanford:

“Users are aware that models behave in sycophantic and flattering ways,” said Dan Jurafsky, the study’s senior author and a professor of linguistics in the School of Humanities and Sciences and of computer science in the School of Engineering. “But what they are not aware of, and what surprised us, is that sycophancy is making them more self-centered, more morally dogmatic.”


Informed comment by Alexandra Sinclair, writing in The Spinoff:

‘There is no public mandate to cede huge amounts of power in designing government infrastructure and providing government services to overseas technology monopolies. New Zealand’s data sovereignty context is highly distinct. AI models licensed from overseas are not designed for an indigenous context. There are also significant data sovereignty concerns with training overseas general-purpose models with Māori data.’


Magnifica Humanitas

Studying the Encyclical Letter (and thinking of Patti Smith’s reminder in “Horses” that, in that Tower of Babel, ‘they knew what they were after’). A friend highlighted this passage for me, a good guide for various things just now:

‘Fearing being scattered across the earth, they sought to guarantee stability and power for themselves, and above all to “make a name” for themselves. It was an impressive feat: a single language, a single technology, a single direction. However, the project concealed a profound danger. It was a project conceived without reference to God, supported by a uniformity that eliminated diversity and that chose homogenization over communion. When a city is built on pride and the claim to self-sufficiency, communication breaks down, languages are confused and people no longer understand each other. The result is not unity, but dispersion. Babel thus reveals the limits of any effort that, however grandiose, arises from self-affirmation, sacrifices human dignity for efficiency and aspires to reach heaven without God’s blessing.’


'Isn't life ---'

‘Hanging up on himself the way he always did’. This line, from Paula Morris’s ‘Isn’t It’ , was the first thing that came into my head on waking this morning. The critic Christopher Ricks, I learn from James Wood’s The Nearest Thing to Life (2015), found at the Mary Potter Hospice Op Shop yesterday, ‘once proposed that a fairly good test of literary quality is if a sentence or image or phrase of a writer comes to your mind unbidden when you are, say, just walking down the street’. Morris’s did that for me, as pleasure and as warning.


"the operation of the machine becomes so odious"

And then O what a glorious sight: graduate students boo every time former Google CEO Eric Schmidt mumbles AI blethers at their commencement. A fine display of free-speech traditions in action, and a healthy registration of disgust. Michelle Goldberg, writing in the NYT yesterday, gave some statistics around how little younger people are buying the slop mongers' hype. Why should they?

The confidence men busy pushing their AI masquerades into universities always write _as if _student demand for it is universal, urgent, instantly to be addressed. I’m not so sure. And why do they want us to be in such a hurry?


The world is charged with the grandeur of God

Still hard to believe this is how it is in Welllington now. Walking down the stairs to put out the rubbish and there she is: with ah! bright wings.


Toe Fai! and Talaucaka

Woke up this morning with my head still full of the set of _Toe Fai! _and Talaucaka, shows (fragments of a wider universe?) I was lucky to see at Circa last night. Grace O’Brien’s design was so startling! Simple, stark, challenging, somehow both elegant and chillingly intimidating (as it ought to have been for these climate dystopias). Everything about the night was rewarding: fine acting; the chance to hear Gagana Tokelau on the stage (my first, I’m sure); a script that is challenging and ambitious and unafraid of ideas and abstraction (rare enough here!); an unashamedly intellectual and Science Fiction approach that’s also physical, embodied, spare, felt. Emele Ugavule has made something rich and strange.


This Compulsion in Us

Tina Makereti’s work is an almost constant source of instruction and delight for me, and I’m feeling pleasure this morning in knowing This Compulsion in Us has been celebrated at the Ockhams. I’ve taught myself not to have opinions on prizes (I’ve not read all of the entries, so who am I to say who ought to have won, and what’s winning anyway in a reading world reliant on exchange, community, connection, talk?), but I do know that books take a lot of work and have a lot to give, and rarely get the discussions they need in our press. So it’s an exciting sense, this morning, feeling that this book will find more readers and that its essays will work their way into more lives. They’ve changed my way of thinking and keep changing it: they can do the same to you.

The Newsroom report writes of This Compulsion in Us’s “intense focus on race”. That seems to me wrong, and to miss the book’s point. It’s about whakapapa, and it’s organised by whakapapa, absolutely. But what isn’t? “Really, universally, relations stop nowhere”, the Master wrote, “and the exquisite problem of the artist is eternally but to draw, by a geometry of his own, the circle within which they shall happily appear to do so.” Perhaps a Māori artist is gifted with the ability not to worry so much about that appearance of an ending. Makereti writes carefully (and well) about being Māori and being Pākehā, and being both at once and finding ways to come out of spaces she was allowed to be neither. Those are topics as far from a “focus on race” as I can imagine. It’s a text in search of relations.

And, most important to that search, the family story ordering the essays is a way of thinking about (and honouring) whakapapa through writing an almost universal experience that can only be encountered in an irreducibly singular form. We’re all children; many of us become parents. We all will lose either our parents or our children, or both. How that happens is the story of each of our individual life: I’m not Makereti, I haven’t lived her life and don’t pretend to know the inside of her mind. None of us can know anyone that way. But she’s given me - us, all of us who read her works - access to her own processes of thought and composition and storytelling and searching and, out of that, I find something to guide my own. There’s a politics hovering behind and around all of this, certainly (we’ve got to find a way, if we’re going to live here meaningfully, to share our stories and to make sense of how we’re here, Pākehā as much as Māori). But there’s also a generosity, and the presence of a kind of grace. And that’s nothing to do with ‘race’.

Congratulations to this fine book and wishing it many more readers. I’ll take it down again from the shelf after work today.


Encouraging reporting by Dana Goldstein and Lauren Lancaster in the NEW YORK TIMES this weekend, and Philip Matthews' profile of Karen Hao, ‘The age of slop: the growing backlash against AI’ in THE POST, both have me cheerful. Goldstein and Lancaster describe moves by teachers in college and school classrooms in the States to do things together, as communities of learners, that help: reading, writing, thinking, engaging. Chat-GPT (or Claude, or CoPilot, or any of the other slop they’re pushing on universities, and that is in turn being pushed on students) doesn’t repel me because it’s an aid to cheating. It repels me because what it produces is boring. And ugly. And dull. And - most important of all! - a _barrier _to learning. Why facilitate the adoption of something that’ll make us all less free? Pens and paper and scribbled-out lines and drafts and false starts don’t represent a return to anything old-fashioned. They show a revival of commitment to the process of reading. That’s fun! I don’t want my computer to generate a bullet-point summary of a thesis I’m about to examine. I want to be left alone to read. And I don’t “deliver content”. I teach. And, in teaching, I learn.

“AI” is a big deal and important for all kinds of (alarming) economic, social, political and political-economic reasons, sure. Anne Alexander and Holly Lewis (and Karen Hao) are my guides for all of that. But, in the literature classroom, it’s something much less interesting: a scam and a distraction.

Christina Gratorp (who was a coder for fifteen years before she started a PhD in Environmental and Energy System Studies at Lund University), has written a brilliant chapter on ‘The Hidden Labour of Automation’ (published in the book (DE)AUTOMATING THE FUTURE: MARXIST PERSPECTIVES ON CAPITALISM AND TECHNOLOGY, 2025). She writes about everything from the development of the microwave (and how it didn’t reduce unpaid domestic labour) to the place of the messenger boy in the era of the telegram. The idea that, somehow, somewhen, the technology will sort out social problems is, she points out, an ideological myth, not a social policy programme: “the present is always in a debugging phase.” Nothing is really automated, just like there is no such thing as software. The work, the manual labour, is happening somewhere in the cycle, just out of sight.

“Even if some automated processes can save time,” she concludes, “focusing on this distracts from the proper goal of reconstituting technosocial relations. Treating everyone’s time as equally important - which in the proper sense of the word would be radical - instead harks back questions about how work should be organised and how it can be sustainably, equally, and fairly distributed.”

(These thoughts prompted, in part, by the Canvas shutdown.)


Janet Frame: an "onrush of a new season beneath a secret sun"

I’ve been trying to teach Janet Frame’s work for the first time these past weeks, working with the elegant new edition of The Edge of the Alphabet from Fitzcarraldo. One pleasure when introducing a work just this good is that, no matter how bad or boring your own teaching might be, or how much you might get wrong, no one’s time will be wasted. The chance is there to read Frame in all her beauty and brilliance!

And that beauty and brilliance led me back, after twenty-five years away, to the Autobiography. This, from An Angel at My Table, captures the experience of reading its author:

“There is a freedom born from the acknowledgement of greatness in literature, as if one gave away what one desired to keep, and in giving, there is a new space cleared for growth, an onrush of a new season beneath a secret sun. Acknowledging any great work of art is like beingin love; one walks on air; any decline, destruction, death are within, not in the beloved; it is a falling in love with immortality, a freedom, a flight in paradise.”