THROUGH THE LOOKING GLASS OF MASS MEDIA

IN TERMS OF CONSUMERISM, HOW DOES MASS MEDIA

REPRESENT OUR IDENTITY TO CONTROL IT?

FIGURE 1. STILL IMAGE OF CHRISTA PÄFFGEN FROM THE FILM “THE VELVET UNDERGROUND” (THE VELVET UNDERGROUND, 2021)

Ieva Daujotaite
Royal College of Arts
Graduate Diploma (Humanities)
Word Count: 3392
2021
1. IEVA DAUJOTAITE: ON PEOPLE AND MASS MEDIA CONTROL 2.

INDEX 1. INTRODUCTION
Historically, culture was born out of the mutual symbiosis
between humans and nature. Fast forward to the post-mod-
ern day, and culture is largely the product of artificial de-
sires for commercial goods steeped in fear of a compro-
mised lifestyle. This essay will examine how commerce
uses mass media to condition society’s aptitude for con-
1. 2p sumption. Focusing on the history of identity representation
INTRODUCTION
and cultural appropriation of mass surveillance, I will look
through the lens of material artefacts that help reflect it.
2. MIRROR 3-4p

3. MICROSCOPE 5-6p

4. CAMERA 6-7p

5. TELEVISION 7-8p

6. MOBILE PHONE 9-10p

7. CONCLUSION 10p

8. BIBLIOGRAPHY 11-13p
3.
2. MIRRROR
At the start of human life on Earth, 300,000 years
ago, the only conceivable image of self was a re-
flection in a pool of still dark water. Having such
limited knowledge of their individual appearance,
Homo Sapiens navigated their identity in the only
way they possibly could – by focusing on their lo-
cal community. The community continued to sit
at the heart of one’s identity throughout civiliza-
tions until the Medieval-Renaissance period in
Europe. This is when, with the development of
glass blowing, the first glass mirrors were made.
Although other mirrors preceded glass, having
been made from stone and metal, their ability to
reflect light was unsatisfactory. By comparison,
glass mirrors changed history for two reasons:
First, it allowed people to engage with their unique
appearance. This marked a shift in focus, moving
away from the community towards the individual
self. Subsequently, people felt a greater desire to
record their appearance and commissioned more
artists to paint their portraits. As for the artists
themselves, with the help of a mirror, one could
now engage in self-portraiture (Fig.2) – an act of
direct self-representation. The trend for portrai-
ture continued to grow and came to dominate non-
religious art. Threatened by the art form, the in-
stitution of the Church disapproved it because
portraiture embodied self-assigned power and
supposedly led down a dangerous path of self-wor-
ship (Webster, 2013). Whilst the Church was trying
to frighten people to endure, its cautionary woes
about the self-absorbed individual were not false.
Secondly, thanks to glass blowing, the first glass
mirrors were convex. The curved surface magnified
light well and reflected the environment from sev-
eral angles. Therefore, whether at a bank or dur-
ing a reception party at a wealthy household, the
mirror would hang at the end of the room to keep a
watchful eye on lesser-seen areas. This earned the
convex mirror its alternative name, “The Banker’s
Eye” (Butler’s Mirror or Convex Mirror...what’s in a
name? - Omelo Mirrors, 2018), and marked the emer-
gence of the first form of surveillance technology.
FIGURE 2. ALBRECHT DÜRER SELF-PORTRAIT FROM THE MIRRROR “PORTRAIT OF THE
ARTIST HOLDING A THISTLE”, 1492 (DÜRER, 2013)
All in all, the birth of a glass mirror is inscribed with con-
tradiction. It gave rise to individualism – an attitude of re-
bellion against reinforced mass control - and the means
to curb the attitude with surveillance. Combined elements
formed ‘bio-power’- a control strategy that aims to mon-
itor society’s biological processes such as health, birth,
death, and reproduction. Historically, biopower emerged in
the 17th century when “sovereign’s right to take life or let
live, symbolized by the sword, was transformed into socie-
ty’s power to manage life, both by caring for the life of peo-
ple and by limiting it, even to the point of terminating life.”
(Arnason, 2012). This transformation consisted of various
power techniques. However different the techniques are,
all of them specialise at “producing an organic individuality
by exerting control over bodily activities” (Hoffman, 2011)
According to the French philosopher who coined the term
‘biopower’ Michel Foucault, the first-ever technique of bio-
power was the use of the figure of God by the institution of
the Church (Foucault, 1979). God as a social construct was
a visible but unverifiable source of authority. At the time,
the supremacy of God was visible for its grandeur rep-
resentation in architecture, artwork, literature, and other
greatest feats of culture. Equally so, it was also unverifia-
ble for the public could not physically see the body of God.
Foucault compared the effects of such enigma with that of
a Panopticon (Fig.3) – an architectural surveillance mod-
el designed by Jeremy Bentham for observing students,
prisoners, or other occupants of public institutions. The
principle of the Panopticon is that of the reversed dungeon
(Hawthorn, 2012). Instead of depriving the captive of light
and open space, the observed individual is exposed to it.
FIGURE 3. PANOPTICON STRUCTURE DESIGNED BY JEREMY BENTHAM, 1813 ILLIUSTRATED
BY ADAM SIMPSON (SIMPSON, 2013)
IEVA DAUJOTAITE: ON PEOPLE AND MASS MEDIA CONTROL 4.
The guard who observes the captive sits in a cen-
tral tower that shields his examining gaze from
the eyes of the observed. This way, the observer
can never be seen, but his/her presence is felt by
the observed. Bentham explains his design de-
cision by stating that “he who is subjugated to a
field of visibility, and who knows it, assumes re-
sponsibility for the constraints of power [and] be-
comes the principle of his own subjection” (Dino,
2002).
FIGURE 4. ‘ARNOLFINI PORTRAIT’ BY JAN VAN EYCK,1434, (THE NATIONAL
GALLERY, 1434)
To give an example of how such biopower tech-
nique functioned, I will look at the first known re-
cording of a convex mirror – a portrait by Jan van
Eyck “Arnolfini Portrait” (Fig.4) In the painting,
the mirror is hung at the back of the room and in
the centre, between the two newlywed individu-
als. Decorated with scenes from the bible vers-
es’ Passions of Christ’, the mirror symbolizes an
all-seeing ‘God’s Eye’ (The Arnolfini Portrait by
Jan van Eyck, 2020). It reinforces the ‘examining
gaze’ of God to remind the couple of their duties
as married Christians, who expectantly that God
is watching, would refrain from any ‘sinful’ be-
haviour. However, if either one of them sinned,
the Church incited sinners to confess it by shar-
ing their secret with a member of the Church in
private. These confessions then became data for
the “social sciences which used the knowledge
to construct other mechanisms of social control.”
(Detel, 2001)
5.
3. MICROSCOPE
Similarly, to the convex mirror, both inventions creat-
ed a previously unattainable picture of physical reality.
In the case of a microscope (Fig.5), the ability to see our-
selves as collections of tissue cells and microorganisms
refined our medical knowledge and offered salvage from
diseases previously explained only by myths about witches
and demons. Furthermore, the image through the micro-
scope lens bore little to no resemblance to a human body
(Fig.6). This made it naturally easy to adopt a ‘medical gaze’
– a dehumanizing medical separation of the patient’s body
from the patient’s identity. The medical gaze bred an attitude
that was as insensitive to a man’s body as it was to a ma-
chine and sought ways to discipline the body to make it both
useful and docile. Foucault proves the tendency to compare
the two closely by referring to a medical map that labels the
human circulatory system as ‘hydraulic pumps’ (Hawthorn,
2012). Altogether, the microscope marks the emergence of
the ‘medical gaze’ and the objectification of the human body.
FIGURE 5. FULL SIZE COPY OF ROBERT HOOKE’S ORIGINAL COMPOUND MI-
CROSCOPE, AS DESCRIBED IN HIS “ MICROGRAPHIA” 1665 (THE SCIENCE MU-
SEUM, 1927)
4. CAMERA
The second technique of biopower is that of scientific
knowledge. Accelerated by the protestant reforma-
tion, scientific discoveries, and rational thinking of
the Enlightenment era, people began to lose faith in
religion. Science rendered the Church obsolete by
offering logical explanations to religious ‘miracle’
occurrences, including those related to God’s res-
urrection. As religion was being bypassed, science
gained public recognition for revolutionary discov-
eries such as the telescope and the microscope.
FIGURE 6. LEEUWENHOEK’S ILLIUSTRATION OF BACTERIA IN SALIVA FROM HIS BOOK ‘ANI-
MALCULES FROM ARCANA NATURAE DETECTA’, 1695 (LEEUWENHOEK’S, 1695).
To give an example of how scientific knowledge redirect-
ed individualistic agency towards dependency on govern-
mental control, I will refer to the emergence of specialized
surgeons. In his 1963 book ‘The Birth of the Clinic’, Foucault
explains that being more proficient in the ‘medical gaze’
facilitated the otherwise immoral practice of dead body
dissection and led to a more detailed understanding of
the body’s anatomy (Fig.7). As medical studies grew more
advanced and the doctor’s expertise of the body came to
reign over the traditional herbalist, the power to govern
one’s health became more redundant. Consequently, this
built the foundations for a health care system where, in the
hands of specialized doctors such as a surgeon, patients
became passive and dependant on the public hospital for
help.
FIGURE 7. REMBRANDT’S PAINTING THE ANATOMY LESSON OF PROFESSOR NICOLASES
TULP, IN 1632. (REMBRANDT’S PAINTING THE ANATOMY LESSON OF PROFESSOR NICOLAS-
ES TULP, IN 1632).
The following biopower technique echoes the ‘medical
gaze’ principles and objectifies the body using photogra-
phy. By the end of the 18th century, after Europe had un-
dergone The Enlightenment, the public sought their indi-
vidual rights to freedom by abolishing monarchical control.
The idea of treating everyone equally led to the notion that
people in the lower stratum should obtain access to com-
modities previously reserved for only the upper class.
IEVA DAUJOTAITE: ON PEOPLE AND MASS MEDIA CONTROL 6.
FIGURE 8. THE FIRST CAMERA INVENTED BY JOSEPH NICÉPHORE NIÉPCE,
1826 (GOOGLE ARTS & CULTURE, 1826)
In response to the ‘individualism’ fever, the state
devised a capitalistic system based on the prom-
ise to fulfil ‘the individual’ dream through con-
sumption. On the basis that, as individual mem-
bers of the modern society, consumers shall not
be limited by little choice, businesses engaged in
mass-production. This reinforced the total mo-
mentum of the Industrial Revolution and created
unprecedented diversity in commerce. Given the
plentiful product supply, businesses aimed to cre-
ate a greater demand through advertising.
As commodities became more accesible, people
chose to buy rather than make or fix their belong-
ings. Having detached themselves from self-sus-
taining enclosed systems of making, people lost
general knowledge about product provenance.
The commercial industry came to rely on pho-
tography for sales to compensate for the loss
of product authenticity and traditional culture.
Thanks to the invention of the photography cam-
eras (Fig.8) in 1826, commercial advertisements
became more dominant in the press. The adverts
consisted of fictional use-case scenarios and
characters based on other people as models of
total happiness. Similarly to the portraiture of the
early Renaissance, photography remarked high
status in the form of fame. This began the inven-
tion of a modern celebrity.
7.
To give an example of how celebrity culture forged
control over the public, I will look at the life of Sa-
rah Bernhardt (Fig.9). Sarah Bernhardt was a the-
atre actress born in 1844, Paris who became as
well-known in her lifetime as Charlie Chaplin, Mar-
ilyn Monroe, or Lady Gaga in theirs (Marcus, 2019).
According to the journalist Sharon Marcus, Bern-
hardt is the “godmother of modern celebrity”, for
she was one of the first stars to prove that pub-
licity through media is instrumental to fame. She
gained enough influence to start trends and mould
social norms through printed photography alone.
For example, she did not shy away from being no-
ticeably slender in an era when thin was decidedly
not in, and instead, wore dresses in shows that ac-
centuated her skinniness. This shifted the public’s
perception of body image and introduced new sil-
houettes to 19th-century French fashion. Bernhardt
embodied what it meant to be an ‘individual who is
free to choose the course of their own lives. Hav-
ing recognized the appeal of personal freedom that
celebrities embody, businesses appropriate their
identity by subjugating their lives under the weight
of more “free choices”. To Guy Debord, this makes
celebrities nothing more than just “projections of
our false aspirations”. Studies suggest that fail-
ure to match social norms makes individuals more
susceptible to mental health disorders, leaving
the public no choice but to conform (Hidaka, 2012).
The social construct of a celebrity benefited com-
mercial control in two ways. Firstly, it made the
5. TELEVISION
notion of being famous so desirable that fame “ac-
quired infinitely more importance than the value
of anything one might actually be capable of do-
ing.” (Debord, 1967). In other words, in wanting to
match the success of a celebrity, people are will-
ing to seek public exposure. This gives the green
light to mass surveillance of the public and thus
its control. Therefore, photography marks the age
of the ‘objective gaze’ in which “the knowledge re-
gime of secularism started to shape social imag-
inaries in relation to surveillance” (Lyon, 2014).
IEVA DAUJOTAITE: ON PEOPLE AND MASS MEDIA CONTROL 8.
To give an example of how film is capable of international
political and commercial control, I will give the example of
Truman Capote’s film Breakfast at Tiffany’s (Fig.11). The film
tells the story of a young unmarried socialite in 1950s New
York city who tries to navigate self-fulfilment through a so-
cially and materialistically eccentric lifestyle. As the name
suggests, the film has become more famous for its visual
shorthands, its signifiers of New York chic and fashionable
femininity, than its actual story or characters. It advertised
the American fine jewellery brand Tiffany & Co and promoted
the American culture of the ‘individual in an egalitarian soci-
ety as a whole. When practised at scale, this strategy creates
an international following of America and grants its culture
FIGURE 11. STILL OF AUDREY HEPBURN FROM BREAKFAST AT TIFFANY’S BY
dominance worldwide. Therefore, film as a medium marks the TRUMAN CAPOTE, 1961 (BOOK RIOT, 2020).
passing of an age when crossing seas and engaging in wars
was the only method to achieve political influence abroad.
For example, with the development of the first ed-
iting software, Adobe Photoshop in 1987, advertise-
ment agencies began the practice of ‘airbrushing’
the skin of their models. As flawless skin reigned
the press, general beauty standards rose higher
and employed the public to consume more products
to achieve unattainable results. In other words, the
meaning of the ‘objective gaze’ in advertisement has
become independent from the reality of the subject
it is portraying. In consuming to match what only
appears to be true, we have become somebody we
are not naturally. Debord summarises the essence
of this realization - “Just as early industrial capi-
FIGURE 9. SARAH BERNHARDT POSES NEXT TO A BUST OF HERSELF SCULPTED BY talism moved the focus of existence from being to
MATHIEU-MEUSNIER IN 1869, (GETTY IMAGES, 2019)
having, late-industrial culture has moved that focus
FIGURE 10. PHILO FARNSWORTH WITH THE TELEVISION RECEIVER HE INVENTED IN 1927.
(THE UNIVERSITY OF UTAH, N.D.) from having to appearing.” (Debord, 1967). This is
why the modern individual is never fulfilled in only
being capable to ‘appear’ to be. Baudrillard explains
Differently from the fleeting image in the mirror, telescope or this current human condition by describing products
microscope, the ‘objective gaze’ of photography and film is a
as “characteristic signs of happiness” (Baudrillard,
permanent record of time and place. This makes it possible 1988) but never the happiness itself. Film and pho-
to access the recorded content whenever and by whomever.
Half a century later, after the advent of electricity in 1879, the tography together mark the age of simulation when,
This also makes it possible to displace the content from the using “characteristic signs of happiness”, the line
invention of the television (Fig.10) reinforced the ‘objective
original context and change its meaning to suit the commer- between products that are needed (for survival)
gaze’ as biopower capable of long-standing international
cial intentions. A French philosopher who criticized mod- and products for which a need is created is blurred.
influence. Because film, differently from photography, did
ern society described it as a society built on the “generation
not rely on physical distribution via the press, it held a great-
by models of a real without origin or reality: a hyper-re-
er potential to be shared internationally. This turned film
al.” (Baudrillard, 1988) If the intended message strays too
into biopower with both commercial and political interest.
far from the truth, and the observer isn’t aware of the edit-
ing, recorded media risks becoming fraudulent and harmful.
9.
6. MOBILE PHONE
Like misleading road signs, modern mass media
has made the road to self-discovery more disorien-
tating than ever before. This was accelerated with
the emergence of the Digital Revolution in the 1980s
when the shift from electrical to digital technolo-
gy allowed its design to become smaller – perfect
for personal use. Once digital devices like mobile
phones (Fig.12) and compact cameras were made
available, anyone, with or without fame, had access
to photography and film within reach of a hand. Un-
like portraiture-painting, snapping photos and vid-
eos on our phones is not talent intensive. Therefore,
with the help of social media and the frictionless
inclusivity of digital devices, the general public be-
came the agents of their own publicity. By giving con-
sumers a taste of the long-desired publicity online,
people were now exposing more of their personal
life publicly. In 2021, the average 18 to 34-year-old
run 8.4 social media accounts (Mention, 2021). Like
the Panopticon, personal technology enabled the
principle of public exposure for increased control.
To give an example, let’s look at Instagram. As users
post personal content online, they are motivated to
continue to share by the platform’s design features
which reinforce the feeling of being observed, i.e.,
‘likes’, ‘tags ‘and exclusive blue tick icons for the
exceptionally successful users. These features ar-
tificially elevate the need for public approval and
overshadow the original motivation of greater inter-
connection. In fear of losing public interest, Insta-
gram users continue to supply commerce with per-
sonal tastes, opinions, experiences, and relations
to other users. Furthermore, social media has the
capacity to commodify not just the information but
also the users themselves. Those who attain enough
followers are frequently approached by commerce
with offers to sponsor and represent their products.
At this point, people find themselves in the shoes
of celebrities, who, by agreeing to adopt the ways
in which they represent their personal lives, be-
come indebted to commerce for personal success.
FIGURE 12. THE FIRST CELLULAR PHONE ‘KYOCERA VP-210’ IN 1999 (ANDROID AUTHORITY,
2021)
One of the most notable reactions to the emergence of
personal technology is the surge of online shopping. Us-
ing their phones, tablets, or laptops, people shop on the
go. Portability combined with a frictionless user experi-
ence online has incentivized more users to shift their pri-
mary shopping mode from in-store to order-online; more
than 65% of all US population shops on Amazon – an online
shopping platform – monthly (Amazon Statistics for 2021
and the Latest Facts, 2021). Having built commerce on the
principles of the machine, Amazon embodies time efficien-
7. CONCLUSION
cy and minimal physical input – key values of post-modern
society – to maintain customer loyalty. Ultimately, similar-
ly to social media, online shopping apps expose peoples’
shopping data to analysis for commercial appropriation.
In addition to shopping and posting private content online,
people wear tech specializing in gathering personal informa-
tion about the user’s bodily functions. One example of such
technology is the Apple Watch (Fig.13) which collects data
about the user’s sleep patterns, heartbeat, menstrual period,
stress levels etc. Similarly, when the faithful were urged to
confess their sins to the Church in exchange for an afterlife
in heavenly delights, Apple Watch users agreed to surveil-
lance for it promises a better quality of life. As technology
develops to become increasingly more personal, it is also
becoming increasingly ‘cleverer’. The data sets collected by
tracking bodily functions are used to ‘educate’ the machine.
Natural language processing, ingestible medical devices and
algorithmic browsing recommendations are only possible be-
cause the machine has been subjected to both physical and psy-
chological studies about humanity. Put another way; technology
is an ever more significant extension of our psyche and body.
FIGURE 13. THE FIRST APPLE WATCH WITH HEART MONITOR FEATURE, SERIES 4, IN 2018,
(BLOOMBERG VIA GETTY IMAGES, 2018)
In an overview of the mediums through which we come to
observe and actively form our identities, the metaphor of the
Panopticon still resonates to this day. From convex mirrors
to wearable technology, the public has been controlled by
being subjected to increasingly more publicity. In alignment
with the principle of a ‘reversed dungeon’, up until the 20th
century, the modern Panopticon remains largely the same
as the Bentham’s model – with a single watchtower at the
centre, throwing beams of godlike sovereign authority at the
surrounding cell rooms. In other words, the general public
was controlled by one locatable source of authority. However,
by the turn of the century, the emergence of personal tech-
nology made the post-modern Panopticon different from the
original Benthamite conceptualization in two distinct ways.
IEVA DAUJOTAITE: ON PEOPLE AND MASS MEDIA CONTROL 10.
Firstly, the access to the “God’s eye” view has been
decentralized. Instead of one central tower, the
“God’s eye” view has been recast in numerous vid-
eo cameras, algorithms, social media accounts
and more. In Foucault world, “the Panoptic schema,
without disappearing as such or losing any of its
properties, was destined to spread throughout the
social body,” Foucault expands by saying: “its voca-
tion was to become a generalized function” (Fou-
cault, 1979). This leads me to the second point of
difference - the illusion of godlike omniscience. In
the 19th century, when Bentham first designed the
Panopticon, he reinforced the sensation of omnis-
cience by relying on ambivalence-reinforcing ar-
chitecture, i.e. the enclosed central tower to shield
the observer’s gaze from the visual field of the
observed. However, as digital technology grew to
multiply and assimilate the ‘God’s eye’ view across
infinite digital dimensions, the periphery of virtual
reality is no longer visible – it is omniscient. Tech-
nology is outdoors, indoors, on and inside our bod-
ies. The ultimate result is that we now live in the
panoptic machine: “We are neither in the amphi-
theatre, nor on the stage, but in the panoptic ma-
chine, invested by its effects of power, which we
bring to ourselves since we are part of its mech-
anism” (Foucault, 1979). If technological advance-
ments extend human limits, what will be left of hu-
manity, and the natural environment that defines it?
11.
8. BIBLIOGRAPHY
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