
Native Americans and Aboriginal Australians are sometimes associated with the view that cameras can steal the soul. It is the sort of view that we in the supposedly more advanced and enlightened West scoff at, thinking it a primitive superstition. But it’s not. Cameras really can steal the soul.
My evidence is anecdotal. But among the friends that I speak to during this bleak time, one subject keeps on coming up, again and again: the soul-sucking nature of video conferencing. As many as 300 million users worldwide now communicate with each other using Zoom, and other video platforms are catching up fast. We use it not just for meetings, but for everything from socially distanced dinner parties to church services. It’s is the software through which we make business deals, go to school, say goodbye to our dying loved ones, and even — believe it or not — attend sex parties. Zoom is now the gatekeeper, the space between our separate, isolated lives.
Now Zoom is having its problems with security. Is it vulnerable to foreign surveillance? Will uninvited participants come in and disrupt our meetings? My interest is not in such matters. I worry about its existential consequences. That this all-pervasive digital mediation is means of communication in which we lose something essential about ourselves.
In 1929, the Jewish Marxist philosopher Walter Benjamin wrote a seminal essay reflecting on the advent of mass culture. In “The Work of Art in the Age of Mechanical Reproduction”, he argues that the technological changes of modernity, and in particular the capacity to reproduce images, has a profound and transformative effect on how we understand art. For with mass reproducibility we begin to lose the idea that there is something special about the original work of art — its uniqueness, its “aura”. The original painting of the Mona Lisa hanging in the Louvre has a quality about it that its many representations, on posters and postcards, just do not have. Benjamin thinks that this special and unique quality the original artwork has is linked to the original use of art in cultic and religious festivals. One could even say that Benjamin was arguing that the camera steals the painting’s soul.
Benjamin’s essay was the reflection of a Marxist worried about the dehumanising effects of modernity and mass culture. I wonder what he would have made of Zoom? It is not too much of a stretch to extend the argument he used more than 90 years ago to our present concerns — not just the work of art, but also the human subject in the age of digital representation. For it is Benjamin’s essay that best captures for me the thing that Zoom takes away — our “aura”, our souls.
I think a word or two about the idea of the soul is necessary here. I do not mean it in the sense that it developed in the early Christian era, when some aspect of our personal identity was required to carry the essence of who we are into the heavenly kingdom, beyond death. I simply mean by the soul the thing that makes me… me. My essence, my individuality, the specific characteristic that picks me out as different in the world.
Philosophers have argued about what this ‘thing’ could possibly be ever since at least the fifth century BC when the comic playwright Epicharmus described how a debtor tried to wriggle out of his obligation to repay a loan by arguing that because so much of him had changed since he took it out, he was not the same person and so could not be reasonably expected to repay something that was effectively taken out by someone else.
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