All by myself, don’t wanna be…

A couple of weeks ago, an article written by William Deresiewicz for the Chronicle Review made a bit of noise over various social networks: The End of Solitude. It’s a pretty dense essay, too long to be read on the screen, so I printed it and finally got around to reading it. Yes, I could have read it on my iPhone and saved some paper, but sometimes you just have to get away from connectivity… especially when you are reading about its implications!

It’s one of the smartest and most pertinent thing I’ve read about the societal implications of the constant connectivity we surround ourselves with. I strongly suggest that you take the time to read it if, like me, you question all this time you spend online.

Visibility secures our self-esteem, becoming a substitute, twice removed, for genuine connection. Not long ago, it was easy to feel lonely. Now, it is impossible to be alone. […]

If six hours of television a day creates the aptitude for boredom, the inability to sit still, a hundred text messages a day creates the aptitude for loneliness, the inability to be by yourself. Some degree of boredom and loneliness is to be expected, especially among young people, given the way our human environment has been attenuated. But technology amplifies those tendencies. You could call your schoolmates when I was a teenager, but you couldn’t call them 100 times a day. You could get together with your friends when I was in college, but you couldn’t always get together with them when you wanted to, for the simple reason that you couldn’t always find them. If boredom is the great emotion of the TV generation, loneliness is the great emotion of the Web generation. We lost the ability to be still, our capacity for idleness. They have lost the ability to be alone, their capacity for solitude.

And losing solitude, what have they lost? First, the propensity for introspection, that examination of the self that the Puritans, and the Romantics, and the modernists (and Socrates, for that matter) placed at the center of spiritual life — of wisdom, of conduct. Thoreau called it fishing « in the Walden Pond of [our] own natures, » « bait[ing our] hooks with darkness. » Lost, too, is the related propensity for sustained reading. The Internet brought text back into a televisual world, but it brought it back on terms dictated by that world — that is, by its remapping of our attention spans. Reading now means skipping and skimming; five minutes on the same Web page is considered an eternity. This is not reading as Marilynne Robinson described it: the encounter with a second self in the silence of mental solitude.

I cannot think properly – or at least concentrate deeply – when I’m around people. I do my best thinking, the most creative part of it, when I’m alone. I suspect it’s true of most people, even if they are not aware of it. The hive mind is great for brainstorming and the presence of others is necessary for inspiration and motivation, but too much of a good thing is, well, too much. We’ll see more and more of these types of plans and self-imposed schedules show up as people realize, me included, that the noise they surround themselves with is interfering not only with their daily productivity, but also with their sense of self.

If you read French, Josée Blanchette just published a great column on the subject of solitude in Le Devoir. Ça se résume en ceci:

Supprimer l’état de solitude, c’est empêcher l’être humain de penser.

La caméra a-t-elle un sexe?

Débat à la Cinémathèque Québécoise, lundi 2 mars à 19 heures.

La rencontre — organisée conjointement par le comité femmes de l’UDA et Réalisatrices Équitables — sera animée par Geneviève Rioux.

Avec Micheline Lanctôt, Paule Baillargeon, Guylaine Dionne, Raymond Bouchard, Jean Pierre Lefebvre et plusieurs autres des deux côtés de la caméra.

Devant la caméra : en faisant une moyenne sur trois ans et pour l’ensemble des productions cinématographiques, les femmes représentent 43,92% de la distribution pour toucher 35,06% des revenus.

Derrière la caméra : en vingt ans, la part de l’enveloppe gouvernementale allouée aux longs métrages réalisés par des femmes, loin d’avoir augmenté, a même diminué pour se situer sous la barre des 15%.

Lors de la récente ronde de décisions de la SODEC (fiction):
réalisateurs 9 / réalisatrices 0

Lors de la récente ronde de décisions de Téléfilm Canada (fiction):
réalisateurs 7 / réalisatrices 0

Pourquoi y a-t-il si peu de réalisatrices de fiction ? Les femmes sont-elles moins attirées par la fiction que leurs confrères ? Le cinéma au féminin est-il victime de préjugés ?

Via Réalisatrices équitables

Ajout le 3 mars 2009: Dans les chiffres récents concernant le financement de la Sodec, il faut aussi considérer que sur les 39 scénarios soumis, seulement 3 avaient une réalisatrice attachée au projet. (Je n’ai pas les chiffres pour Téléfilm Canada.)

Pourquoi y-a-t-il moins de réalisatrices qui soumettent des projets? Bonne question dont la réponse est sûrement plus complexe qu’elle n’en a l’air.