Social Implications of the Internet

Over the past century, possibly nothing has changed the dynamics of socialization more than the astounding advances in technology. Not only do humans communicate more on a daily basis, but never have we done so on such large scales or over such great distances. The shocking part of this statement, however, is that communication is only the tip of the iceberg. The aspects of other things such as travel and entertainment have also changed drastically.

With the dawn of the wireless age, people are able to connect to each other from all corners of the world. It is now possible to be in contact with dozens of people at the same time, regardless of their geographic location.

In an age where air travel has become widely affordable a la the advent of commercial flight, it is possible for the average citizen to cross the United States in less than a day. Longer lasting cars are now being mass produced all over the world, and gasoline has been accepted as a necessary expense in the budget of the everyday American. In this way, it's not just the technology that changes the dynamics of today's world, but the affordability of that technology.

It would be an understatement to say that the entertainment industry was affected by the technological advancements of the past century. For all intents and purposes, 20th century technology pumped life into the entertainment industry. For the first time, national, and even international celebrity was available to people outside the typical arenas. The Internet only served to further this country's hefty helping of media. In previous years, artists were unable to make a career on talent alone. The most successful artists were often the ones who were backed by the largest sums of money. While money is still the driving force behind the entertainment industry today, the playing field has become significantly more level for independent artists thanks to mediums such as YouTube and Myspace.

Like most aspects of life, technology has its fair share of drawbacks, and some may even argue that in this case they far outweigh the advantages. The belief that 20th century technological advancements has improved the quality of life is still the subject of considerable doubt.

With the first decade of widespread Internet usage almost completely behind us, a significant percentage of our population seems to be experiencing second thoughts about the phenomenon that has gripped this country. Over the past couple of years, I have begun to count myself among this number. Despite its astounding networking capabilities, it can be argued that the Internet is in fact a detriment to human socialization on the whole. It's become increasingly obvious to me that there is no substitute for face-to-face interaction, although an alarming (and growing) portion of my generation seems to feel they've found an adequate one in the form of the internet.

In the most popular form of online communication, instant messaging, it's considered standard procedure to be engaged in several conversations at any one point in time. On the surface, this appears to be a great new way to maximize the amount of socialization one is capable of doing. However, I have found that more often than not, conversation in this form is restricted to a casual, generic, almost scripted procedure. No real information or ideas are being passed between the two people; only superficial and disinterested words. While there may be more conversation taking place, the depth of that conversation takes a serious blow.

When it comes to the entertainment industry, I find myself torn between two schools of thought. The main point of contention is not over technology directly related to artistic production, but rather a villain that was previously mentioned as a hero; the Internet.

The people with the most money invested in the music business will surely tell you about the mass corruption and piracy that the Internet has facilitated. This is understandable, because those with the most money invested in this business are the ones losing the most money to the Internet phenomenon. However, these people also happen to have little to do with the creative aspect that is the lifeblood of entertainment. The truth is, most independent musicians outside of the pop arena do not rely on album sales or music videos to make a living. Instead, they procure their paychecks from the one source of income that labels and producers don't get a cut of; live performances. As a self-described independent musician, I have no problem with peer-to-peer networks or bootlegged CDs; anything that brings more paying customers to the bar, coffee shop, or club I'm performing at is welcome, because it means more money in my pocket.

The film industry, however, is a different story. While sites such as YouTube have made it easier for the average Joe to get 15 minutes of fame, people who make their living from film are not reaping the same benefits. Movie piracy is increasing in popularity, and what's more, it's frighteningly easy to do. In the same way that it does for musicians, the Internet can help bring young or unknown directors, actors, and writers into the spotlight. The problem is, there is no viable medium beyond the film itself from which substantial money is to be made. Once a film reaches the hands of a consumer through the Internet, that consumer no longer has any reason to attend a showing at a theatre, or purchase a home copy of the film. Unlike musicians, there is no way for movie makers to capitalize on this increased exposure and make up for the lost income.

In the end, the impact of technology is completely dependent on the individual using it. If we can find ways to tame or control these new advancements, they can be used to our advantage. However, just like most things with such wild potential, it also poses a very real threat to the routines that we have become used to. The question is not whether technology will continue to shape and re-shape the American lifestyle, but whether or not we can learn to better control the ways in which the dominoes fall.