The numbing of the American mind: culture as anesthetic

This article from Harper’s is really good for understanding the relationship between technology and a lack of empathy. A few samples:

It was to have been the end of irony, remember? Superficial celebrity culture was over; a new age of seriousness was upon us. Of course, the way media celebrities focused on their own mood as the consequence of September 11 was in itself an irony so marvelous you knew immediately how wrong they were. And sure enough, the spotlight never wavered. It went on shining as it always had, on those it was meant for–on them. A guarantee of continuing superficiality right there, quite apart from unintended irony.

So we shared Dan Rather’s pain, marveled at intrepid Ashleigh Banfield, scrutinizing those ferocious tribal fighters through her designer specs, and Tom Brokaw, arbiter of greatness among generations, took us on a tour of the real West Wing. But these iconic moments swam into focus only momentarily, soon to be swept away in a deluge of references, references so numerous, so relentlessly repeated, that they came at last to constitute a solid field, a new backdrop for all our public performances. How often did you hear, how often did you say, “Since the events of 9/11”? A new idiom had been deposited in the language, approaching the same plane of habituality as “by the way” or “on the other hand.” And in the process we got past it after all. Six months or so was all it took. The holidays came and went, and–if you were not personally stricken by the terror of September–chances are you got over it. You moved on.

The moreness of everything ascends inevitably to a threshold in psychic life. A change of state takes place. The discrete display melts into a pudding, and the mind is forced to certain adaptations if it is to cohere at all.

When you find out about the moving cursor, or hear statistics about AIDS in Africa, or see your 947th picture of a weeping fireman, you can’t help but become fundamentally indifferent because you are exposed to things like this all the time, just as you are to the rest of your options. Over breakfast. In the waiting room. Driving to work. At the checkout counter. All the time. I know you know this already. I’m just reminding you.

Which is not to say you aren’t moved. On the contrary, you are moved, often deeply, very frequently–never more so, perhaps, than when you saw the footage of the towers coming down on 9/11. But you are so used to being moved by footage, by stories, by representations of all kinds–that’s the point. It’s not your fault that you are so used to being moved, you just are.

So it’s not surprising that you have learned to move on so readily to the next, sometimes moving, moment. It’s sink or surf. Spiritual numbness guarantees that your relations with the moving will pass. And the stuffed screen accommodates you with moving surfaces that assume you are numb enough to accommodate them. And so on, back and forth. The dialectic of postmodern life.

Under that agreement, stress is how reality feels. People addicted to busyness, people who don’t just use their cell phones in public but display in every nuance of cell-phone deportment their sense of throbbing connectedness to Something Important–these people would suffocate like fish on a dock if they were cut off from the Flow of Events they have conspired with their fellows to create. To these plugged-in players, the rest of us look like zombies, coasting on fumes. For them, the feeling of being busy is the feeling of being alive.

Partly, it’s a function of speed, like in those stress dramas that television provides to keep us virtually busy, even in our downtime. The bloody body wheeled into the ER, every personjack on the team yelling numbers from monitors, screaming for meds and equipment, especially for those heart-shocker pads–that’s the paradigm scene. All the others derive from it: hostage-negotiator scenes, staffers pulling all-nighters in the West Wing, detectives sweeping out of the precinct, donning jackets, adjusting holsters, snapping wisecracks. Sheer speed and Lives on the Line. That’s the recipe for feeling real.

The irony is that after we have worked really hard on something urgent for a long time, we do escape numbness for a while–stepping out of the building, noticing the breeze, the cracks in the sidewalk, the stillness of things in the shop window. During those accidental and transitional moments, we actually get the feeling of the real we were so frantically pursuing when we were busy. But we soon get restless. We can’t take the input reduction. Our psychic metabolism craves more.

Actually, stress dramas are about the lives of the media people who make them. They purport to be about hospitals or law firms, but they are actually about what it is like to make TV shows, about high-stakes teamwork in the land of celebrity, where, by definition, everything matters more than it does anywhere else, a land that welcomes diversity and foibles as long as The Job Gets Done, a land where everything personal, unconditional, intimate–everything unbounded by the task–takes place on the side. That’s why, in these shows through which the celebrated teach the rest of us how to be like them, the moments of heartfelt encounter that make it all worthwhile are stolen in the corridors of power, while the verdict is awaited. If we get that real-folks-rushing-to-get-out-of-the-house-in-the-morning scene, it’s just to underscore the priority of the Flow of Events that protects the busy from being left alone in the stillness with what makes it all worthwhile. Lest direction be lost, motion must be maintained.

So life in a flood of surfaces means a life of perpetual motion, and TV provides the model in other modes as well. Take the transitions from story to story in newscasts, that finishing-with-a-topic moment. “Whether these supplies, still piling up after weeks of intense effort by these humanitarian workers, will actually reach the victims (pause) remains to be seen.” A hint of a sigh, a slight shake of the head, eyes down-turning; the note of seasoned resignation. Profound respect is conveyed for the abandoned topic even as a note of anticipation rises to greet the (also interesting, but less burdensome) next topic–and the new camera angle at the anchor desk makes it clear that stern and external necessity, rather than any human agency, governs the shift from two minutes on mass starvation to the next episode of The Fall of the House of Enron.

Judy Woodruff is especially good at this, her particular little head nod, or shake, as the case may be, and the way her lips tighten up a tad. “If it were up to me as a human being I would never leave this coverage of thousands of dying innocents, but, as a newscaster, of course, I have to.” And her speaking voice says, “All right, Jim, we have to go to a break now, but we will be following this story as it develops–and thanks again.” “Thank you, Judy,” says Jim, echoing her gesture, and we understand that he, too, as a human being, would never allow us to move on from so ghastly and demanding a reality, but it isn’t up to him as a human being either. It isn’t up to anybody, actually. That’s the one real reality. Moving on.

Read On

ht: Jesse Van Der Molen

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