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Amazing Spider-Man 1963 - vol. 1 #1 by Stan Lee, Steve Ditko

By Stan Lee, Steve Ditko

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It dulls the pain. It screens out the screams of those suffering just outside our personal experience (or indeed the screams in our own head, on a particularly bad day). Certainly, a lot of our problems are not necessarily curable by better economic or social policies. Much of the trauma comes with being human, and thus being burdened with the awareness of mortality and other miserable fates that await us. ” Social media helps us not to think about such things. So there is already an irony in trying to think through and about social media.

Indeed, that is the salient point here: that matters of potentially historic import, like a civil rights issue, for instance, are now flattened into the same homogeneous, empty digital space as a cute critter or an obnoxious celebrity (and vice versa). While television was the pioneer in creating this absolute exchangeability of “events”—in order to dispense with the political charge of a real event—the “human interest” story was still quarantined from the News of the Night by coming at the end of the broadcast (just as it was relatively clear, until the past couple of decades, what was a news story and what was advertising—even as they often reinforced each other, as publicity for certain types of conduct).

One recent structural condition to consider from the outset is the decisive erosion of the online/offline distinction, thanks in large part to mobile devices, which means that we can no longer speak in confident terms of the virtual in contrast to the actual. In terms of possible methodologies, there are the various disciplinary approaches: ethnography, psychology, evolutionary biology, neuroscience, sociology, history, philosophy, and so on—each as valid as the other for something as complex and perplexing as new media (and each as blinkered as the other when considered only through its own set of optics).

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