Alvin Toffler - Future Shock

Most of us, in fact, do not think of our own lives in terms of life style, and we often have difficulty in talking about it objectively. We have even more trouble when we try to articulate the structure of values implicit in our style. The task is doubly hard because many of us do not adopt a single integrated style, but a composite of elements drawn from several different models. We may emulate both Hippie and Surfer. We may choose a cross between West Side Intellectual and Executive – a fusion that is, in fact, chosen by many publishing officials in New York. When one's personal style is a hybrid, it is frequently difficult to disentangle the multiple models on which it is based.

Once we commit ourselves to a particular model, however, we fight energetically to build it, and perhaps even more so to preserve it against challenge. For the style becomes extremely important to us. This is doubly true of the people of the future, among whom concern for style is downright passionate. This intense concern for style is not, however, what literary critics mean by formalism. It is not simply an interest in outward appearances. For style of life involves not merely the external forms of behavior, but the values implicit in that behavior, and one cannot change one's life style without working some change in one's selfimage. The people of the future are not "style conscious" but "life style conscious."

This is why little things often assume great significance for them. A single small detail of one's life may be charged with emotional power if it challenges a hard-won life style, if it threatens to break up the integrity of the style. Aunt Ethel gives us a wedding present. We are embarrassed by it, for it is in a style alien to our own. It irritates and upsets us, even though we know that "Aunt Ethel doesn't know any better." We banish it hastily to the top shelf of the closet.

Aunt Ethel's toaster or tablewear is not important, in and of itself. But it is a message from a different subcultural world, and unless we are weak in commitment to our own style, unless we happen to be in transition between styles, it represents a potent threat. The psychologist Leon Festinger coined the term "cognitive dissonance" to mean the tendency of a person to reject or deny information that challenges his preconceptions. We don't want to hear things that may upset our carefully worked out structure of beliefs. Similarly, Aunt Ethel's gift represents an element of "stylistic dissonance." It threatens to undermine our carefully worked out style of life.

Why does the life style have this power to preserve itself? What is the source of our commitment to it? A life style is a vehicle through which we express ourselves. It is a way of telling the world which particular subcult or subcults we belong to. Yet this hardly accounts for its enormous importance to us. The real reason why life styles are so significant – and increasingly so as the society diversifies – is that, above all else, the choice of a life style model to emulate is a crucial strategy in our private war against the crowding pressures of overchoice.

Deciding, whether consciously or not, to be "like" William Buckley or Joan Baez, Lionel Trilling or his surfer equivalent, J. J. Moon, rescues us from the need to make millions of minute life-decisions. Once a commitment to a style is made, we are able to rule out many forms of dress and behavior, many ideas and attitudes, as inappropriate to our adopted style. The college boy who chooses the Student Protester Model wastes little energy agonizing over whether to vote for Wallace, carry an attaché case, or invest in mutual funds.

By zeroing in on a particular life style we exclude a vast number of alternatives from further consideration. The fellow who opts for the Motorcyclist Model need no longer concern himself with the hundreds of types of gloves available to him on the open market, but which violate the spirit of his style. He need only choose among the far smaller repertoire of glove types that fit within the limits set by his model. And what is said of gloves is equally applicable to his ideas and social relationships as well.

The commitment to one style of life over another is thus a super-decision. It is a decision of a higher order than the general run of everyday life-decisions. It is a decision to narrow the range of alternatives that will concern us in the future. So long as we operate within the confines of the style we have chosen, our choices are relatively simple. The guidelines are clear. The subcult to which we belong helps us answer any questions; it keeps the guidelines in place.

But when our style is suddenly challenged, when something forces us to reconsider it, we are driven to make another super-decision. We face the painful need to transform not only ourselves, but our self-image as well.

It is painful because, freed of our commitment to any given style, cut adrift from the subcult that gave rise to it, we no longer "belong." Worse yet, our basic principles are called into question and we must face each new life-decision afresh, alone, without the security of a definite, fixed policy. We are, in short, confronted with the full, crushing burden of overchoice again.

To be "between styles" or "between subcults" is a life-crisis, and the people of the future spend more time in this condition, searching for styles, than do the people of the past or present. Altering his identity as he goes, super-industrial man traces a private trajectory through a world of colliding subcults. This is the social mobility of the future: not simply movement from one economic class to another, but from one tribal grouping to another. Restless movement from subcult to ephemeral subcult describes the arc of his life.

There are plenty of reasons for this restlessness. It is not merely that the individual's psychological needs change more often than in the past; the subcults also change. For these and other reasons, as subcult membership becomes ever more unstable, the search for a personal style will become increasingly intense, even frenetic in the decades to come. Again and again, we shall find ourselves bitter or bored, vaguely dissatisfied with "the way things are" – upset, in other words, with our present style. At that moment, we begin once more to search for a new principle around which to organize our choices. We arrive again at the moment of super-decision.

At this moment, if anyone studied our behavior closely, he would find a sharp increase in what might be called the Transience Index. The rate of turnover of things, places, people, organizational and informational relationships spurts upward. We get rid of that silk dress or tie, the old Tiffany lamp, that horror of a claw-footed Victorian end table – all those symbols of our links with the subcult of the past. We begin, bit by bit, to replace them with new items emblematic of our new identification. The same process occurs in our social lives – the through-put of people speeds up. We begin to reject ideas we have held (or to explain them or rationalize them in new ways). We are suddenly free of all the constraints that our subcult or style imposed on us. A Transience Index would prove a sensitive indicator of those moments in our lives when we are most free – but, at the same time, most lost.

It is in this interval that we exhibit the wild oscillation engineers call "searching behavior." We are most vulnerable now to the messages of new subcults, to the claims and counterclaims that rend the air. We lean this way and that. A powerful new friend, a new fad or idea, a new political movement, some new hero rising from the depths of the mass media – all these strike us with particular force at such a moment. We are more "open," more uncertain, more ready for someone or some group to tell us what to do, how to behave.