In recent years, we have witnessed a concerning trend where our loved ones shared low-quality content, such as distorted versions of popular songs, on social media platforms like YouTube, Instagram and TikTok. This phenomenon started around a decade ago with songs like "Eye to Eye" and "AAngel". Initially, I was shocked by this trend, but that reaction soon turned to laughter and amusement. I admit that I have also contributed to the proliferation of this low-quality content jokingly by sharing it with friends, not realising the popularity it would gain and encourage others to produce similar content. Regrettably, this vulgarity seems to have no end in sight.
This growing trend, driven more by the desire for quick recognition rather than true creativity or cultural contribution, is not only weakening the vibrant fabric of Pakistani art and culture but also encouraging a decline in societal norms. The widespread availability of such content, marked by its superficiality and often vulgar appeal, is diminishing the traditional values and artistic sensibilities that have long been the hallmark of Pakistan's cultural legacy, leading to a concerning shift in societal standards.
True artists, even with modest expectations, must toil for years to create high-quality content, yet struggle to attract viewership across different platforms. In contrast, low-quality distortions are quickly rewarded, which is discouraging for genuine artists. Some may wonder how entertainment will impact the culture or fundamental nature of society. The impact of entertainment upon the culture and society is a matter worthy of consideration. To address this question, it is necessary to first comprehend the concept of culture and its intricate relationship with the fabric of society.
I was reminded of "Critical Theory," a concept developed by the Frankfurt School, a group of German thinkers dedicated to examining the complexities of culture and its linkages. Notable figures in cultural theory include renowned scholars like Theodor Adorno, Max Horkheimer, Herbert Marcuse, and Walter Benjamin. In this framework, culture is analysed in terms of power dynamics, social structures, and ideological forces. These theorists highlight how culture can mirror, uphold, or contest prevailing power relations and social hierarchies.
By providing enjoyment and a means of escape, they distract ordinary people from growing societal inequalities. This boom in the entertainment industry diminishes critical thinking, thereby preventing individuals from questioning the prevailing social and economic structures
The culture industry today simplifies intricate art forms and intellectual pursuits into uniform products for the market. This transformation results in a diminished sense of individuality and creativity, as culture is now crafted not to provoke thought, challenge norms, or foster personal growth but rather to deliver consistent entertainment for the masses. For Adorno, this signifies a decline in the critical power of culture, as mass media turns individuals into passive consumers instead of engaged participants in the cultural landscape.
In addition to stifling individuality and creativity while posing no threat to the established system, the culture industry, particularly through social media platforms, fosters a false consciousness among the people. This environment diverts the masses and the working class from acknowledging their genuine social and economic realities, instead immersing them in shallow forms of entertainment. Rather than confronting the system that perpetuates inequality, individuals often seek refuge in trivial forms of entertainment, using them as an outlet for their frustrations and disappointments.
Adorno and Marcuse argue that the culture industry plays a crucial role in preserving the existing social order by promoting conformity and passivity among the masses. By providing enjoyment and a means of escape, they distract ordinary people from growing societal inequalities. This boom in the entertainment industry diminishes critical thinking, thereby preventing individuals from questioning the prevailing social and economic structures. Marcuse contends that in advanced capitalist societies, mass culture serves to produce "one-dimensional" individuals who are seamlessly absorbed into the system, rendering them incapable of envisioning alternatives to the prevailing social structure. Cultural artefacts transform into instruments of social control, providing the satisfaction that reinforces the status quo instead of sparking revolutionary transformation for change.
The distinction between High Culture and Popular Culture, as explained by these scholars, is quite fascinating. High Culture encourages critical thinking and inspires a desire for systemic change, whereas Popular Culture tends to be more passive, serving primarily to entertain and satisfy immediate consumer needs. A significant concern among the thinkers of the Frankfurt School is the manipulative influence exerted by mass media and social media in contemporary society. These platforms function as instruments of social control in the interests of the powerful. Adorno and Horkheimer contended that all forms of media are designed to distract the public from the fundamental truths of their economic exploitation.
Prevalence of a scroll-based culture, which offers a quick and easily accessible adrenaline rush, is diminishing the attention span of young people. For this generation, watching content for more than a few minutes can feel intolerable
The changes occurring within the cultural landscape are not solely a concern for the Global South; they have also sparked significant alarm and unease within Western societies. In his book "Amusing Ourselves to Death," American educator Neil Postman contends that as societies shift from text-based communication to image-driven media, there is a tendency to favour entertainment over substantive dialogue, potentially resulting in a decline in the quality of intellectual discourse. The educators in our society bear witness to what Postman is reflecting upon. Apart from the loss of cultural heritage, the current trends have a dangerous tendency of venting dissatisfaction with the present state of injustice and inequality into laughter and non-serious attitudes.
The prevalence of a scroll-based culture, which offers a quick and easily accessible adrenaline rush, is diminishing the attention span of young people. For this generation, watching content for more than a few minutes can feel intolerable. Social media platforms are often designed to promote multitasking and divided attention, leading users to frequently switch between various applications or engage with multiple content threads simultaneously. This fragmented engagement can impair the ability to concentrate on a single task for extended periods. Such a disjointed method of processing information may negatively impact overall cognitive performance and learning capabilities. The constant barrage of diverse stimuli can overwhelm the cognitive system, complicating the prioritisation and effective processing of information.
The focus on viral trends and easily palatable (actually undigestible) content frequently favours superficial entertainment at the expense of more meaningful and thought-provoking artistic works. This change results in a decline in the quality and depth of cultural output, as content creators frustratingly prioritise attracting immediate attention over engaging in substantial cultural discourse.
Social media platforms undoubtedly offer opportunities for creativity and connection, yet the dominance of superficial content can significantly impact societal values and cultural norms. The emphasis on viral and sensational material frequently undermines depth, diversity, and genuine interaction, potentially leading to lasting consequences for the cultural and social evolution of our society. The interplay between art, culture, and society is a fascinating subject, where art serves as both a mirror and a mould; it reflects societal values, beliefs, and experiences while also influencing and challenging them.