Media Unlimited: How the Torrent of Images and Sounds Overwhelms Our Lives by Todd Gitlin

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Table of Contents

Read an Excerpt

Chapter 1
On my bedroom wall hangs a print of Vermeer’s The Concert, painted around 1660. A young woman is playing a spinet. A second woman, probably her maid, holds a letter. A cavalier stands between them, his back to us. A landscape is painted on the raised lid of the spinet, and on the wall hang two paintings, a landscape and The Procuress, a work by Baburen, another Dutch artist, depicting a man and two women in a brothel. As in many seventeenth-century Dutch paintings, the domestic space is decorated by paintings. In wealthy Holland, many homes, and not only bourgeois ones, featured such renderings of the outer world. These pictures were pleasing, but more: they were proofs of taste and prosperity, amusements and news at once. Vermeer froze instants, but instants that spoke of the relative constancy of the world in which his subjects lived. If he had painted the same room in the same house an hour, a day, or a month later, the letter in the maid’s hand would have been different, and the woman might have been playing a different selection, but the paintings on the far wall would likely have been the same. There might have been other paintings, etchings, and prints elsewhere in the house, but they would not have changed much from month to month, year to year. In what was then the richest country in the world, “everyone strives to embellish his house with precious pieces, especially the room toward the street,” as one English visitor to Amsterdam wrote in 1640, noting that he had observed paintings in bakeries, butcher’s shops, and the workshops of blacksmiths and cobblers. Of course, the number of paintings, etchings, and prints in homes variedconsiderably. One tailor owned five paintings, for example, while at the high end, a 1665 inventory of a lavish patrician’s house in Amsterdam held two maps and thirteen paintings in one grand room, twelve paintings in his widow’s bedroom, and seven in the maid’s room. Still, compared with today’s domestic imagery, the grandest Dutch inventories of that prosperous era were tiny. Even in the better-off households depicted by Vermeer, the visual field inhabited by his figures was relatively scanty and fixed. Today, Vermeer’s equivalent, if he were painting domestic scenes, or shooting a spread for Vanity Fair, or directing commercials or movies, would also display his figures against a background of images; and if his work appeared on-screen, there is a good chance that he would mix in a soundtrack as well. Most of the images would be portraits of individuals who have never walked in the door—not in the flesh—and yet are recognized and welcomed, though not like actual persons. They would rapidly segue into others—either because they had been edited into a video montage, or because they appear on pages meant to be leafed through. Today’s Vermeer would discover that the private space of the home offers up vastly more impressions of the larger world than was possible in 1660. In seventeenth-century Delft, painters did not knock on the door day and night offering fresh images for sale. Today, though living space has been set apart from working space, as would have been the case only for the wealthier burghers of Vermeer’s time, the outside world has entered the home with a vengeance—in the profusion of media. The flow of images and sounds through the households of the rich world, and the richer parts of the poor world, seems unremarkable today. Only a visitor from an earlier century or an impoverished country could be startled by the fact that life is now played out against a shimmering multitude of images and sounds, emanating from television, videotapes, videodiscs, video games, VCRs, computer screens, digital displays of all sorts, always in flux, chosen partly at will, partly by whim, supplemented by words, numbers, symbols, phrases, fragments, all passing through screens that in a single minute can display more pictures than a prosperous seventeenth-century Dutch household contained over several lifetimes, portraying in one day more individuals than the Dutch burgher would have beheld in the course of years, and in one week more bits of what we have come to call “information” than all the books in all the households in Vermeer’s Delft. And this is not yet to speak of our sonic surroundings: the music, voices, and sound effects from radios, CD players, and turntables. Nor is it to speak of newspapers, magazines, newsletters, and books. Most of the faces we shall ever behold, we shall behold in the form of images. Because they arrive with sound, at home, in the car, the elevator, or the waiting room, today’s images are capable of attracting our attention during much of the day. We may ignore most of them most of the time, take issue with them or shrug them off (or think we are shrugging them off), but we must do the work of dispelling them—and even then, we know we can usher them into our presence whenever we like. Iconic plenitude is the contemporary condition, and it is taken for granted. To grow up in this culture is to grow into an expectation that images and sounds will be there for us on command, and that the stories they compose will be succeeded by still other stories, all bidding for our attention, all striving to make sense, all, in some sense, ours. Raymond Williams, the first analyst to pay attention to the fact that television is not just pictures but flow, and not just flow but drama upon drama, pointed out more than a quarter century ago, long before hundred-channel cable TV and VCRs, that we have never as a society acted so much or watched so many others acting. . . . [W]hat is really new . . . is that drama . . . is built into the rhythms of everyday life. In earlier periods drama was important at a festival, in a season, or as a conscious journey to a theater; from honouring Dionysus or Christ to taking in a show. What we have now is drama as habitual experience: more in a week, in many cases, than most human beings would previously have seen in a lifetime.
Around the time Vermeer painted The Concert, Blaise Pascal, who worried about the seductive power of distraction among the French royalty, wrote that “near the persons of kings there never fail to be a great number of people who see to it that amusement follows business, and who watch all the time of their leisure to supply them with delights and games, so that there is no blank in it.” In this one respect, today almost everyone—even the poor—in the rich countries resembles a king, attended by the courtiers of the media offering a divine right of choice. MEASURES OF MAGNITUDE Statistics begin—but barely—to convey the sheer magnitude of this in-touchness, access, exposure, plenitude, glut, however we want to think of it. In 1999, a television set was on in the average American household more than seven hours a day, a figure that has remained fairly steady since 1983. According to the measurements of the A. C. Nielsen Company, the standard used by advertisers and the television business itself, the average individual watched television about four hours a day, not counting the time when the set was on but the individual in question was not watching. When Americans were asked to keep diaries of how they spend their time, the time spent actually watching dropped to a still striking three hours a day—probably an undercount. In 1995, of those who watched, the percentage who watched “whatever’s on,” as opposed to any specific program, was 43 percent, up from 29 percent in 1979. Though cross-national comparisons are elusive because of differences in measurement systems, the numbers in other industrialized nations seem to be comparable—France, for example, averaging three and a half hours per person. One survey of forty-three nations showed the United States ranking third in viewing hours, after Japan and Mexico. None of this counts time spent discussing programs, reading about their stars, or thinking about either. Overall, wrote one major researcher in 1990, “watching TV is the dominant leisure activity of Americans, consuming 40 percent of the average person’s free time as a primary activity [when people give television their undivided attention]. Television takes up more than half of our free time if you count . . . watching TV while doing something else like eating or reading . . . [or] when you have the set on but you aren’t paying attention to it.” Sex, race, income, age, and marital status make surprisingly little difference in time spent. Neither, at this writing, has the Internet diminished total media use, even if you don’t count the Web as part of the media. While Internet users do watch 28 percent less television, they spend more time than nonusers playing video games and listening to the radio and recorded music—obviously a younger crowd. Long-term users (four or more years) say they go on-line for more than two hours a day, and boys and girls alike spend the bulk of their Internet time entertaining themselves with games, hobbies, and the like. In other words, the Internet redistributes the flow of unlimited media but does not dry it up. When one considers the overlapping and additional hours of exposure to radio, magazines, newspapers, compact discs, movies (available via a range of technologies as well as in theaters), and comic books, as well as the accompanying articles, books, and chats about what’s on or was on or is coming up via all these means, it is clear that the media flow into the home—not to mention outside—has swelled into a torrent of immense force and constancy, an accompaniment to life that has become a central experience of life. The place of media in the lives of children is worth special attention— not simply because children are uniquely impressionable but because their experience shapes everyone’s future; if we today take a media-soaked environment for granted, surely one reason is that we grew up in it and can no longer see how remarkable it is. Here are some findings from a national survey of media conditions among American children aged two through eighteen. The average American child lives in a household with 2.9 televisions, 1.8 VCRs, 3.1 radios, 2.6 tape players, 2.1 CD players, 1.4 video game players, and 1 computer. Ninety-nine percent of these children live in homes with one or more TVs, 97 percent with a VCR, 97 percent with a radio, 94 percent with a tape player, 90 percent with a CD player, 70 percent with a video game player, 69 percent with a computer. Eighty-eight percent live in homes with two or more TVs, 60 percent in homes with three or more. Of the 99 percent with a TV, 74 percent have cable or satellite service. And so on, andon, and on. The uniformity of this picture is no less astounding. A great deal about the lives of children depends on their race, sex, and social class, but access to major media does not. For TV, VCR, and radio ownership, rates do not vary significantly among white, black, and Hispanic children, or between girls and boys. For television and radio, rates do not vary significantly according to the income of the community. How accessible, then, is the media cavalcade at home? Of children eight to eighteen, 65 percent have a TV in their bedrooms, 86 percent a radio, 81 percent a tape player, 75 percent a CD player. Boys and girls are not significantly different in possessing this bounty, though the relative usages do vary by medium. Researchers also asked children whether the television was “on in their homes even if no one is watching ‘most of the time,’ ‘some of the time,’ ‘a little of the time,’ or ‘never.’ ” Homes in which television is on “most of the time” are termed constant television households. By this measure, 42 percent of all American households with children are constant television households. Blacks are more likely than whites or Hispanics to experience TV in their lives: 56 percent of black children live in constant television households (and 69 percent have a TV in their bedrooms, compared to 48 percent of whites). The lower the family education and the median income of the community, the greater the chance that a household is a constant television household. As for time, the average child spent six hours and thirty-two minutes per day exposed to media of all kinds, of which the time spent reading books and magazines—not counting schoolwork—averaged about forty-five minutes. For ages two to seven, the average for total media was four hours and seventeen minutes; for ages eight to thirteen, eight hours and eight minutes, falling to seven hours and thirty-five minutes for ages fourteen to eighteen. Here, race and social class do count. Black children are most exposed, followed by Hispanics, than whites. At all age levels, the amount of exposure to all media varies inversely with class, from six hours and fifty-nine minutes a day for children in households where the median income for the zip code is under $25,000 to six hours and two minutes for children whose zip code median income is over $40,000. The discrepancy for TV exposure is especially pronounced, ranging from three hours and six minutes a day for children whose zip code incomes are under $25,000 to two hours and twenty-nine minutes for children whose zip code incomes are over $40,000. Still, thesedifferences are not vast. Given everything that divides the rich from the poor, the professional from the working class—differences in physical and mental health, infant mortality, longevity, safety, vulnerability to crime, prospects for stable employment, and so on—the class differences in media access and use are surprisingly slender. So are the differences between American and western European children, the latter averaging six hours a day total, though in Europe only two and a quarter of those hours are spent with TV. All such statistics are crude, of course. Most of them register the time that people say they spend. They are—thankfully—not checked by total surveillance. Moreover, the meaning of exposure is hard to assess, since the concept encompasses rapt attention, vague awareness, oblivious coexistence, and all possible shadings in between. As the images glide by and the voices come and go, how can we assess what goes on in people’s heads? Still, the figures do convey some sense of the media saturation with which we live—and so far we have counted only what can be counted at home. These numbers don’t take into account the billboards, the TVs at bars and on planes, the Muzak in restaurants and shops, the magazines in the doctor’s waiting room, the digital displays at the gas pump and over the urinal, the ads, insignias, and logos whizzing by on the sides of buses and taxis, climbing the walls of buildings, making announcements from caps, bags, T-shirts, and sneakers. To vary our experience, we can pay to watch stories about individuals unfold across larger-than-lifesize movie screens, or visit theme parks and troop from image to image, display to display. Whenever we like, on foot or in vehicles, we can convert ourselves into movable nodes of communication, thanks to car radios, tape, CD, and game players, cell phones, beepers, Walkmen, and the latest in “personal communication systems”—and even if we ourselves refrain, we find ourselves drawn willy-nilly into the soundscape that others broadcast around us. Crucially, who we are is how we live our time—or spend it, to use the term that registers its intrinsic scarcity. What we believe, or say we believe, is less important. We vote for a way of life with our time. And increasingly, when we are not at work or asleep, we are in the media torrent. (Sometimes at work, we are also there, listening to the radio or checking out sports scores, pin-ups, or headlines on the Internet.) Steadily more inhabitants of the wealthy part of the world have the means, incentives, and opportunities to seek private electronic companionship. The more money we have to spend, the more personal space each household member gets. With personal space comes solitude, but this solitude is instantly crowded with images and soundtracks. To a degree that was unthinkable in the seventeenth century, life experience has become an experience in the presence of media. Copyright © 2002 by Todd Gitlin. All rights reserved.