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Everything that is said about the Internet’s destruction of “interiority” was said for decades about television

It is the wraparound presence, not the specific evils, of the machine that oppresses us. Simply reducing the machine’s presence will go a long way toward alleviating the disorder. Which points, in turn, to a dog-not-barking-in-the-nighttime detail that may be significant. In the Better-Never books, television isn’t scanted or ignored; it’s celebrated. When William Powers, in “Hamlet’s BlackBerry,” describes the deal his family makes to have an Unplugged Sunday, he tells us that the No Screens agreement doesn’t include television: “For us, television had always been a mostly communal experience, a way of coming together rather than pulling apart.” (“Can you please turn off your damn computer and come watch television with the rest of the family,” the dad now cries to the teenager.)

Yet everything that is said about the Internet’s destruction of “interiority” was said for decades about television, and just as loudly. Jerry Mander’s “Four Arguments for the Elimination of Television,” in the nineteen-seventies, turned on television’s addictive nature and its destruction of viewers’ inner lives; a little later, George Trow proposed that television produced the absence of context, the disintegration of the frame—the very things, in short, that the Internet is doing now. And Bill McKibben ended his book on television by comparing watching TV to watching ducks on a pond (advantage: ducks), in the same spirit in which Nicholas Carr leaves his computer screen to read “Walden.”

Now television is the harmless little fireplace over in the corner, where the family gathers to watch “Entourage.” TV isn’t just docile; it’s positively benevolent. This makes you think that what made television so evil back when it was evil was not its essence but its omnipresence. Once it is not everything, it can be merely something. The real demon in the machine is the tirelessness of the user. A meatless Monday has advantages over enforced vegetarianism, because it helps release the pressure on the food system without making undue demands on the eaters. In the same way, an unplugged Sunday is a better idea than turning off the Internet completely, since it demonstrates that we can get along just fine without the screens, if only for a day.

Adam Gopnik, “The Information”, The New Yorker (14 & 21 February 2011), 130.

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Enjoying cliffhangers done well versus those not done well

When done poorly, the cliffhanger is all about shoddy craftsmanship, the creepy manipulation by a storyteller who has run out of tricks. When done well, however, it can be about much more: surprise, shock, outrage, and pleasure—the sort of thing that might send you dancing off the sofa. The cliffhanger is part of some of the silliest shows on TV; it’s also key to understanding many of the greatest ones. It’s the visceral jolt that’s not so easily detached from television’s most erudite achievements. But, then, that’s the mind-body problem of TV, a conversation that has only just begun.

Emily Nussbaum, “Tune in Next Week”, The New Yorker (30 July 2012), 74.

In Alaska today, it’s difficult to find a profession that hasn’t been turned into a TV show

In Alaska today, it’s difficult to find a profession that hasn’t been turned into a TV show….
It’s hard to miss the paradox in this. Half a century ago, the notion that most Americans would soon be at least a generation removed from skilled manual labor would have seemed remarkable. But now that’s where we are, our relative comfort gnaws at us. The frequency that we respond to in [these types of shows] is the same one that makes suburban accountants buy Ford Super Duty pickups and Brooklyn graphic designers grow fake lumberjack beards. And yet this very desire for authenticity has turned some of the last truly unreconstructed frontiersmen in America into that least authentic of creatures: the minor celebrity.

Charles Homans, “A Soap Opera on the High Seas,” The New York Times Magazine (16 December 2012), 50.