Jia Tolentino - Trick Mirror

Mass media always determines the shape of politics and culture. The Bush era is inextricable from the failures of cable news; the executive overreaches of the Obama years were obscured by the internet’s magnification of personality and performance; Trump’s rise to power is inseparable from the existence of social networks that must continually aggravate their users in order to continue making money. But lately I’ve been wondering how everything got so intimately terrible, and why, exactly, we keep playing along. How did a huge number of people begin spending the bulk of our disappearing free time in an openly torturous environment? How did the internet get so bad, so confining, so inescapably personal, so politically determinative—and why are all those questions asking the same thing?

I’ll admit that I’m not sure that this inquiry is even productive. The internet reminds us on a daily basis that it is not at all rewarding to become aware of problems that you have no reasonable hope of solving. And, more important, the internet already is what it is. It has already become the central organ of contemporary life. It has already rewired the brains of its users, returning us to a state of primitive hyperawareness and distraction while overloading us with much more sensory input than was ever possible in primitive times. It has already built an ecosystem that runs on exploiting attention and monetizing the self. Even if you avoid the internet completely—my partner does: he thought #tbt meant “truth be told” for ages—you still live in the world that this internet has created, a world in which selfhood has become capitalism’s last natural resource, a world whose terms are set by centralized platforms that have deliberately established themselves as near-impossible to regulate or control.

The internet is also in large part inextricable from life’s pleasures: our friends, our families, our communities, our pursuits of happiness, and—sometimes, if we’re lucky—our work. In part out of a desire to preserve what’s worthwhile from the decay that surrounds it, I’ve been thinking about five intersecting problems: first, how the internet is built to distend our sense of identity; second, how it encourages us to overvalue our opinions; third, how it maximizes our sense of opposition; fourth, how it cheapens our understanding of solidarity; and, finally, how it destroys our sense of scale.

In 1959, the sociologist Erving Goffman laid out a theory of identity that revolved around playacting. In every human interaction, he wrote in The Presentation of Self in Everyday Life, a person must put on a sort of performance, create an impression for an audience. The performance might be calculated, as with the man at a job interview who’s practiced every answer; it might be unconscious, as with the man who’s gone on so many interviews that he naturally performs as expected; it might be automatic, as with the man who creates the correct impression primarily because he is an upper-middle-class white man with an MBA. A performer might be fully taken in by his own performance—he might actually believe that his biggest flaw is “perfectionism”—or he might know that his act is a sham. But no matter what, he’s performing. Even if he stops trying to perform, he still has an audience, his actions still create an effect. “All the world is not, of course, a stage, but the crucial ways in which it isn’t are not easy to specify,” Goffman wrote.

To communicate an identity requires some degree of self-delusion. A performer, in order to be convincing, must conceal “the discreditable facts that he has had to learn about the performance; in everyday terms, there will be things he knows, or has known, that he will not be able to tell himself.” The interviewee, for example, avoids thinking about the fact that his biggest flaw actually involves drinking at the office. A friend sitting across from you at dinner, called to play therapist for your trivial romantic hang-ups, has to pretend to herself that she wouldn’t rather just go home and get in bed to read Barbara Pym. No audience has to be physically present for a performer to engage in this sort of selective concealment: a woman, home alone for the weekend, might scrub the baseboards and watch nature documentaries even though she’d rather trash the place, buy an eight ball, and have a Craigslist orgy. People often make faces, in private, in front of bathroom mirrors, to convince themselves of their own attractiveness. The “lively belief that an unseen audience is present,” Goffman writes, can have a significant effect.

Offline, there are forms of relief built into this process. Audiences change over—the performance you stage at a job interview is different from the one you stage at a restaurant later for a friend’s birthday, which is different from the one you stage for a partner at home. At home, you might feel as if you could stop performing altogether; within Goffman’s dramaturgical framework, you might feel as if you had made it backstage. Goffman observed that we need both an audience to witness our performances as well as a backstage area where we can relax, often in the company of “teammates” who had been performing alongside us. Think of coworkers at the bar after they’ve delivered a big sales pitch, or a bride and groom in their hotel room after the wedding reception: everyone may still be performing, but they feel at ease, unguarded, alone. Ideally, the outside audience has believed the prior performance. The wedding guests think they’ve actually just seen a pair of flawless, blissful newlyweds, and the potential backers think they’ve met a group of geniuses who are going to make everyone very rich. “But this imputation—this self—is a product of a scene that comes off, and is not a cause of it,” Goffman writes. The self is not a fixed, organic thing, but a dramatic effect that emerges from a performance. This effect can be believed or disbelieved at will.

Online—assuming you buy this framework—the system metastasizes into a wreck. The presentation of self in everyday internet still corresponds to Goffman’s playacting metaphor: there are stages, there is an audience. But the internet adds a host of other, nightmarish metaphorical structures: the mirror, the echo, the panopticon. As we move about the internet, our personal data is tracked, recorded, and resold by a series of corporations—a regime of involuntary technological surveillance, which subconsciously decreases our resistance to the practice of voluntary self-surveillance on social media. If we think about buying something, it follows us around everywhere. We can, and probably do, limit our online activity to websites that further reinforce our own sense of identity, each of us reading things written for people just like us. On social media platforms, everything we see corresponds to our conscious choices and algorithmically guided preferences, and all news and culture and interpersonal interaction are filtered through the home base of the profile. The everyday madness perpetuated by the internet is the madness of this architecture, which positions personal identity as the center of the universe. It’s as if we’ve been placed on a lookout that oversees the entire world and given a pair of binoculars that makes everything look like our own reflection. Through social media, many people have quickly come to view all new information as a sort of direct commentary on who they are .

This system persists because it is profitable. As Tim Wu writes in The Attention Merchants, commerce has been slowly permeating human existence—entering our city streets in the nineteenth century through billboards and posters, then our homes in the twentieth century through radio and TV. Now, in the twenty-first century, in what appears to be something of a final stage, commerce has filtered into our identities and relationships. We have generated billions of dollars for social media platforms through our desire—and then through a subsequent, escalating economic and cultural requirement—to replicate for the internet who we know, who we think we are, who we want to be.