In his 1961 short story, “The Overloaded Man,” JG Ballard depicted a business school professor losing his mind, overwhelmed by the world outside his head. Harry Faulkner secretly quits his job and sits all day on the veranda of his university apartment, in a modernist housing complex called “the Bin.” He has trained himself to cognitively dissociate from the world, using “cut-off switches” in his mind to render objects around him as unrecognizable shapes. Eventually, Faulkner loses touch with the world entirely, unable to bear “its overlay of nagging associations.” When his wife discovers him at home during the workday in a stupor, Faulkner’s effort to disconnect culminates in a depersonalized murder-suicide, described through an abstracted interplay of shapes and colors. Ballard captures some of information overload’s signature features: the description of the brain and perception in terms of manipulable mental circuitry, the prototypical overloaded person being a man, a businessman or intellectual, aggravated by the excesses of modern life into a state of unreason (see Erickson et al. 2013, How Reason Almost Lost Its Mind).