The New Yorker:
How do we hold on to what matters in a distracted age?
By Nathan Heller
On a subway train not long ago, I had the familiar, unsettling experience of standing behind a fellow-passenger and watching everything that she was doing on her phone. It was a crowded car, rush hour, with the dim but unwarm lighting of the oldest New York City trains. The stranger’s phone was bright, and as I looked on she scrolled through a waterfall of videos that other people had filmed in their homes. She watched one for four or five seconds, then dispatched it by twitching her thumb. She flicked to a text message, did nothing with it, and flipped back. The figures on her screen, dressed carefully and mugging at the camera like mimes, seemed desperate for something that she could not provide: her sustained attention. I felt mortified, not least because I saw on both sides of the screen symptoms I recognized too clearly in myself.
For years, we have heard a litany of reasons why our capacity to pay attention is disturbingly on the wane. Technology—the buzzing, blinking pageant on our screens and in our pockets—hounds us. Modern life, forever quicker and more scattered, drives concentration away. For just as long, concerns of this variety could be put aside. Television was described as a force against attention even in the nineteen-forties. A lot of focussed, worthwhile work has taken place since then.
But alarms of late have grown more urgent. Last year, the Organization for Economic Cooperation and Development reported a huge ten-year decline in reading, math, and science performance among fifteen-year-olds globally, a third of whom cited digital distraction as an issue. Clinical presentations of attention problems have climbed (a recent study of data from the medical-software company Epic found an over-all tripling of A.D.H.D. diagnoses between 2010 and 2022, with the steepest uptick among elementary-school-age children), and college students increasingly struggle to get through books, according to their teachers, many of whom confess to feeling the same way. Film pacing has accelerated, with the average length of a shot decreasing; in music, the mean length of top-performing pop songs declined by more than a minute between 1990 and 2020.
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