How to fight it.
There is a popular photo app called Prisma that takes a user’s smartphone photo and passes it through a series of filters and automatic rotoscoping to produce something between a Roman mosaic and a watercolor painting. This manipulation of reality creates works of art from what may otherwise be mundane, poorly composed photos–a boon for those of us who have never taken a good photo in their lives. “Artists beware! AI is coming for your paintbrush too…” warns a Techcrunch review quoted on the app’s website. But far from simply automating the jobs of artisans, something technology has done for centuries under capitalism, Prisma takes our drab reality and makes it appear as an image on a fun house mirror. This isn’t so much a They Live scenario where we are lied to directly (though that certainly happens), as it is a deliberate move on our part. We fracture the image in front of us, preferring a more compelling version, something that is ready made for sharing on the networked world of social media, and the curated lives we offer there.
Adam Curtis’s recent Hypernormalization posits that, more and more, our experiences are becoming uncoupled with the picture of the world that are presented by the media elites and governments and mediated by traditional systems of power. And we know this, but there is little we feel we can do, because any standards of behavior or mechanisms of power checking are completely undermined. Bankers break the law and do horrible things resulting in millions losing their jobs and homes, but they aren’t prosecuted. Cops shoot unarmed blacks in the back and plant evidence, all on camera, but face no jail time. Wars are waged on lies around terror or good western morals, but when the lies are exposed and the reports point to those responsible, the purveyors are let off and hailed as elder statesmen. And to all of us, the results come off as completely expected and normal; to have a chain of cause and effect would be the truly striking thing. Hypernormalization is our individual and collective attempt to make order of the barrage of nonsense–to accept not just the unacceptable, but the impossible.
For Curtis, who released his film in October, a figure like Donald Trump (and his electoral success) fits perfectly into this off-kilter bizarro-world. Trump called the bluff of the traditional elite and their pantomime grasp of power. He used the sheer confusion of the Prismatic apparatus to rise to power, making not a straightforward case for why he should become president, as exemplar of traditional state power Hillary Clinton tried to do, but via misdirection from the linear narrative of the election and sometimes a complete rejection of recent historical facts. Trump is the affirmation of this new disjointed reality, in a Gibsonian sense, he is the living avatar of the Tessier-Ashpool family who sleep while the twin algorithms of facebook and financial capitalism system drive up their profits with credit and clicks.