The trick to get around this is to move smoothly up and down the gradient of social interaction intensity, never dropping below a basic floor of presence: the sense that there are other people in the same place as you.
Instead of having two modes, “in a call” and “on my own,” we need to think about multiple ways of being together which, minimally, could be:
In a video call
In an anteroom to a video call, hearing the sound of others
In a doc together
On my desktop but with the sense that colleagues are around
And the job of the designer is to ensure that their software ensures the existence of these different contexts, instead of having the binary on-a-call/not-on-a-call, and to design the transitions between them.
Kasuri is thus a textile that appears to have been rubbed. Since the edges of the pattern do not align, they take on the nature of an odd number rather than an even number. Without this rubbing or smudging, kasuri could never have been. However, since it is precisely this misalignment and blurry effect that is the source of kasuri’s beauty, we are presented with an interesting problem. I will call this problem ‘the beauty of odd numbers’.
The beauty of kasuri is received as a gift. As long as the laws of nature are upheld, the beauty of kasuri remains intact. This demonstrates the curious principle that the artisan is deprived of technical freedom but works in the freedom of nature.
In this sense, kasuri can be said to be created in a state of freedomless freedom.