The End of Absence: Reclaiming What We've Lost in a World of Constant Connection

The End of Absence: Reclaiming What We've Lost in a World of Constant Connection by Michael Harris Page B

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Authors: Michael Harris
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actually said, “Ugh,
unfollow,
” using Twitter’s term for removing an avatar from one’s ranks. And it wasn’t a semantic joke, is the thing. I clicked a button in my head and felt that jerk’s swift removal from my mental address book.
    There is one key difference here between young Benjamin and me. I am aware of my own confusion and can confront it. I can still recall my analog youth.
    In the quiet suburb where I was raised, there was a green hill near our house, a place where no one ever went. It was an easy trek, over the backyard fence and up a dirt path, and I would go there on weekends with a book if I wanted to escape the company of family or merely remove myself from the stultifying order of a household. Children do need moments of solitude as well as moments of healthy interaction. (How else would they learn that the mind makes its own happiness?) But too often these moments of solitude are only stumbled upon by children, whereas socialization is constantly arranged. I remember—I was nine years old—I remember lying on the green hill and reading my book or merely staring for a long, long time at the sky. There would be a crush of childish thoughts that would eventually dissipate, piece by piece, until I was left alone with my bare consciousness, an experience that felt as close to religious rapture as I ever had. I could feel the chilled sunlight on my face and was only slightly awake to the faraway hum of traffic. This will sound more than a little fey, but that young boy on the hillside did press daisies into his book of poetry. And just the other day, when I took that book down from its dusty post on my shelf, the same pressed flowers fell out of its pages (after a quarter century of stillness) and dropped onto my bare toes. There was a deep sense memory, then, that returned me to that hushed state of mind on the lost green hill, a state that I have so rarely known since. And to think: That same year, a British computer scientist at CERN called Tim Berners-Lee was writing the code for the World Wide Web. I’m writing these words on the quarter-century anniversary of his invention.
    That memory of a quieter yesteryear is dearly useful. Awake—or at least partly so—to the tremendous influence of today’s tech-littered landscape, I have the choice to say yes and no to the wondrous utility of these machines, their promise and power. I do not know that Benjamin will have that same choice.
    Regardless, the profound revelations of neuroplasticity research are constantly reinscribing the fundamental truth that we never really outgrow our environments. That the old, like the young, are vulnerable to any brave new world they find themselves walking through. The world we fashion for ourselves, or think we fashion, remains an insistent shaper of our minds until the day we die. So, in fact, we are all Kids These Days.
    Despite the universality of this change, which we’re all buffeted by, there is a single, seemingly small change that I’ll be most sorry about. It will sound meaningless, but: One doesn’t see teenagers staring into space anymore. Gone is the idle mind of the adolescent.
    I think that strange and wonderful things occur to us in those youthful time snacks, those brief reprieves when the fancy wanders. We know that many scientists and artists spring from childhoods of social deprivation. The novels of Anthony Trollope, for example, are the products of a friendless youth. He describes in his autobiography years and years of boyish daydreaming, which continued in adulthood:
Other boys would not play with me . . . . Thus it came to pass that I was always going about with some castle in the air. . . . There can, I imagine, hardly be a more dangerous mental practice; but I have often doubted whether, had it not been my practice, I should ever have written a novel. I learned in this way to maintain an interest in a fictitious story, to dwell on a work created by my own imagination, and to live

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