Let's not act like selfies and food pics are 21st century phenomena

No, taking a photo of your brunch isn't a "revolutionary" act. Taking a selfie isn't one, either. We've been doing them both for centuries.

Instagram held a press conference today to announce that it was adding a messaging service to its app. That's all. Messaging.

Just to make that clear:

Kevin Systrom is the co-founder of Instagram, and his presentation contained some choice cuts of ludicrous Silico-speak. At one point he literally described the act of taking a photo of one’s brunch as “revolutionary”.

We can only wonder what he makes a painting like this:

(Image: Wikimedia Commons)

That's Caravaggio's Still Life with Fruit (1601-1605), a painting of some brunch (or lunch, maybe breakfast). It's food, is the point. The art galleries of the world are filled with boring pictures of food - it's a topic that has sustained artists for centuries. There is nothing new about fixating on food. The animals on the walls of Bhimbetka and Chauvet might even count as food portraits.

Ancient human-like figures, like these ones painted onto rock in the Cederberg region of South Africa, might even be selfies:

(Image: Wikimedia Commons)

That's a generous interpretation, I realise, but the self-portrait is one of the defining artistic subjects of human art, throughout the world. There are 141 self portraits in the National Gallery's collection, for example. It makes the response to the Oxford English Dictionary's decision to name "selfie" word of the year utterly baffling - there is nothing new about us documenting ourselves.

Think pieces that talked about the selfie's "screaming narcissim" that "sits at the excess of the ultimate theatricalising of the self" seem to treat something rather mundane as something that's - here's that word again - "revolutionary". Smartphones and digital cameras have made it easier to take photos of ourselves and our foods. They've also made it easier to take pictures of landscapes, but you don't see that getting parodied or turned into a Time cover story about the self-obsession of a generation. The difference between now and the Renaissance is the barrier to entry for those who couldn't afford paint and canvas.

The question it feels more worth asking here is this: why do we use new technologies the same as our old ones? Why is that we keep picturing the same things, again and again, but faster and faster? When is a technology amplifying something in our society, rather than actually changing it? And will every technology always end up, inevitably, a thing for porn?

It rather feels that focusing on the method, instead of the motive, misses the point a lot of the time.

Rembrandt pouting for a selfie, c.1630. (Image: Wikimedia Commons)

Ian Steadman is a staff science and technology writer at the New Statesman. He is on Twitter as @iansteadman.

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Katy Perry’s new song is not so much Chained to the Rhythm as Chained to a Black Mirror episode

The video for “Chained to the Rhythm” is overwhelmingly pastel and batshit crazy. Watch out, this satire is sharp!

If you’ve tuned into the radio in the last month, you might have heard Katy Perry’s new song, “Chained to the Rhythm”, a blandly hypnotic single that’s quietly, creepingly irresistible.

If you’re a really attuned listener, you might have noticed that the lyrics of this song explore that very same atmosphere. “Are we crazy?” Perry sings, “Living our lives through a lens?”

Trapped in our white picket fence
Like ornaments
So comfortable, we’re living in a bubble, bubble
So comfortable, we cannot see the trouble, trouble
Aren’t you lonely?
Up there in utopia
Where nothing will ever be enough
Happily numb

The chorus muses that we all “think we’re free” but are, in fact, “stumbling around like a wasted zombie, yeah.” It’s a swipe (hehe) at social media, Instagram culture, online dating, whatever. As we all know, modern technology is Bad, people who take photos aren’t enjoying the moment, and glimpses other people’s Perfect Lives leave us lonely and empty. Kids these days just don’t feel anything any more!!!

The video for this new song was released today, and it’s set in a (get this) METAPHORICAL AMUSEMENT PARK. Not since Banky’s Dismaland have we seen such cutting satire of modern life. Walk with me, through Katy Perry’s OBLIVIA.

Yes, the park is literally called Oblivia. Get it? It sounds fun but it’s about oblivion, the state of being unaware or unconscious, i.e. the state we’re all living in, all the time, because phones. (I also personally hope it’s a nod to Staffordshire’s own Oblivion, but cannot confirm if Katy Perry has ever been on the Alton Towers classic steel roller coaster.)

The symbol of the park is a spaced-out gerbil thing, because, aren’t we all caged little hairy beings in our own hamster wheels?! Can’t someone get us off this never-ending rat race?!

We follow Katy as she explores the park – her wide eyes take in every ride, while her peers are unable to look past the giant iPads pressed against their noses.


You, a mindless drone: *takes selfies with an iPad*
Katy Perry, a smart, engaged person: *looks around with actual human eyes, stops to smell the roses*

She walks past rides, and stops to smell the roses – and the pastel-perfect world is injected with a dose of bright red reality when she pricks her finger on a thorn. Cause that’s what life really is, kids! Risk! At least she FEELS SOMETHING.


More like the not-so-great American Dream, am I right?!

So Katy (wait, “Rose”, apparently) takes her seat on her first ride – the LOVE ME ride. Heteronormative couples take their seats against either a blue heart or a pink one, before being whizzed through a tunnel of Facebook reaction icons.

Is this a comment on social media sexism, or a hint that Rose is just too damn human for your validation station? Who knows! All we can say for sure is that Katy Perry has definitely seen the Black Mirror episode “Nosedive”:

Now, we see a whole bunch of other rides.


Wait time: um, forever, because the human condition is now one of permanent stasis and unsatisfied desires, duh.

No Place Like Home is decorated with travel stamps and catapults two of the only black people in the video out of the park. A searing comment on anti-immigrant rhetoric/racism? Uh, maybe?

Meanwhile, Bombs Away shoots you around like you’re in a nuclear missile.


War: also bad.

Then everyone goes and takes a long drink of fire water (?!?!) at Inferno H2O (?!?!) which is also a gas station. Is this about polluted water or petrol companies or… drugs? Or are we just so commercialised even fire and water are paid-for privileges? I literally don’t know.

Anyway, Now it’s time for the NUCLEAR FAMILY SHOW, in 3D, no less. Rose is last to put her glasses on because, guess what? She’s not a robot. The show includes your typical 1950s family ironing and shit, while hamsters on wheels run on the TV. Then we see people in the rest of theme park running on similar wheels. Watch out! That satire is sharp.

Skip Marley appears on the TV with his message of “break down the walls to connect, inspire”, but no one seems to notice accept Rose, and soon becomes trapped in their dance of distraction.


Rose despairs amidst the choreography of compliance.

Wow, if that didn’t make you think, are you even human? Truly?

In many ways – this is the Platonic ideal of Katy Perry videos: overwhelmingly pastel, batshit crazy, the campest of camp, yet somehow walking the fine line between self-ridicule and terrifying sincerity. It might be totally stupid, but it’s somehow still irresistible.

But then I would say that. I’m a mindless drone, stumbling around like a wasted zombie, injecting pop culture like a prescription sedative.

I’m chained…………. to the rhythm.

Anna Leszkiewicz is a pop culture writer at the New Statesman.