By Lisa Wade, PhD
And what does it have to do with the largest refugee crisis since World War II?
Grab the tissues:
In his book named after the idea, sociologist Stjepan Meštrović describes contemporary Western societies as postemotional. By invoking the prefix “post,” he doesn’t mean to suggest that we no longer have any emotions at all, but that we have become numb to our emotions, so much so that we may not feel them the way we once did.
This, he argues, is a result of being exposed to a “daily diet of phoniness”: a barrage of emotional manipulation from every corner of culture, news, entertainment, infotainment, and advertising. In this postemotional society, our emotions have become a natural resource that, like spring water, is tapped at no cost to serve corporations with goals of maximizing mass consumption and fattening their own wallets. Even companies that make stuff like gum.
As examples, Meštrović describes how our dramas and comedies feed us fictionalized stories that take us on extreme emotional roller coasters, while their advertisements manipulate our emotions to encourage us to buy. Serious media like the news lead with the most emotionally intense stories of the day. Our own lives are usually rather humdrum, but if you watch the news, you vicariously experience trauma every day. A cop killed another kid. An earthquake has killed thousands. Little girls are kidnapped by warlords. Immigrants die by the boatload. Do you feel sad? Angry? Scared? Your friends do; you know because of Facebook, Twitter, and Tumblr. Do you need a pick me up? Here’s a kitten. Feel happy.
Importantly for Meštrović, the emotions that we encounter through these media are not our own. The happiness you feel watching a baby laughing on YouTube isn’t really your happiness, nor is it your sadness when you watch a news story about a tragedy. It’s not your daughter who has treasured your tiny offerings of love for 18 years, but you spend emotional energy on these things nevertheless.
In addition to being vicarious, the emotions we are exposed to are largely fake: from the voiceover on the latest blockbuster movie trailer, to the practiced strain in the voice of the news anchor, to the performative proposal on The Bachelor, to the enthusiasm for a cleaning product in the latest ad. These emotions are performed after being carefully filtered through focus groups and designed to appeal to the masses.
But they are so much more intense than those a typical human experiences in their daily lives, and the onslaught is so constant. Meštrović thinks we are emotionally exhausted by this experience, leaving us little energy left to feel our own, idiosyncratic emotions. We lose our ability to detect our own more nuanced emotions, which are almost always small and mundane compared the extraordinary heights of grief, rage, lust, and love that we are exposed to when the news chases down the latest mass tragedy or the movies offer up never-ending tales of epic quests. Meanwhile, in consuming the emotions of others, we get lost. We end up confused by the dissolving of the boundary between personal and vicarious; our bodies can’t tell the difference between friends on TV and those in real life.
Meštrović is worried about this not just on our behalf. He’s worried that it inures us to real tragedies because our hearts are constantly being broken, but only a little. When we are triggered to constantly feel all the feelings for all the people everywhere — real ones and fake ones — we don’t have the energy to emotionally respond to the ones that are happening right in front of us. His work was originally inspired by the bland global response to the Bosnian genocide in the ’90s, but applies equally well to the slow, stuttering response — both political and personal — to the refugees fleeing the Syrian Civil War and the constant news of yet another mass shooting in America. The emotional dilution that characterizes a postemotional society makes us less likely to take action when needed. So, when action is needed, we change our Facebook profile picture instead of taking to the streets.
This article originally appeared on Sociological Images.