Meshing and Stacking Away from Disaster
I’m often haunted by the folk in Wall-E, the movie where humans have abandoned Earth to trash, a small waste-collecting robot and a cockroach. That’s not the bit that scares me: it’s the space-bound humans who are ferried around on pods, their eyes permanently glued to a screen in front of them.
Is this, I ask my worried self, our future? Or has it already happened?
In some ways it has. But for what it’s worth I think it’s a blip. The future won’t in fact look like that at all.
Right now we definitely have a problem. The problem is that screens have gotten smaller, or rather more portable, more convenient, and the content on them has become so compelling that we risk life and limb to watch them as we walk, stand and sit.
But this is just a phase.
I detect the beginnings of a shift. Not of our behaviour – sadly we’ll always be vulnerable to fixating on any screen with bright colours and movement. But the sheer multiplicity of screens is forcing change on us.
Consider the following: Of the seven hours a day spent gazing at a screen, at least two of those hours are actually watching two or more screens. Millward Brown, a brand consultancy, calls it meshing and stacking.
Whereas before we’d pop off to the kitchen to put the kettle on, now we scroll through our tablet to see what people are saying on Twitter about what we’ve just watched. Then there’s shifting, where we start watching something on one screen, and then finish it on a laptop, a smartphone or a tablet.
This may seem like appalling behaviour, slicing our attention into ever thinner chunks. And in some ways it is, but it means that we’re unlikely to be subsumed by any one screen. And that’s good, because we’re dominating the screens, not them dominating us.
There are other things afoot. Screens don’t need to be big to do big things for us: the latest version of Google’s Android operating system allows the user to stitch together separate photos of a view and then relive the panorama by moving the phone around in the air, the image moving as if the scene was in front of the viewer. It’s a extraordinary feeling, recreating a mural on a screen the size of your hand.
Then there’s something called Spritz, an app that allows you to speed read a book in a viewer no larger than 18 letters. The maker of the app says by shuttling words past your vision at speed 80% of your effort is saved for reading and absorbing. I was pretty amazed; it seemed to work, and makes you think about whether you really need a book-sized screen to recreate the experience of reading a tome.
Then there’s something called Snapchat, where users can send photos to each other which can only be viewed for a few seconds before disappearing forever. It’s hard to see the value in this, until someone pointed out that the value lies in the intimacy of the moment. Users don’t open the picture immediately, preferring to find a quiet, private space to enjoy it. Counterintuitively, by making the photo ephemeral, the app makes the process of viewing it special and the memory of it longer lasting.
Some might say I’m grasping at straws. But I see in these examples the beginnings of a new approach to how we relate to our screens. For sure, some of us will remain their slaves. But for others we may find new ways to derive pleasure from them, whether it’s recreating a vista, reading a tome or viewing a photo.