A very inspiring English Literature teacher once told me that all poems were about poetry, and all plays were about plays. Increasingly my newsreaders seems to be telling me that all news is about news.
Now I happen to think that poetry and plays should be about other things too, but what my teacher said stuck in my mind, because for literature by and large it is true.
The artistic process is inherently a meta-process, because any medium we engage, from blank page to blank canvas to blinking cursor, acts a mirror to ourselves. Ultimately when we engage with the world of imagination we only have ourselves as material to work with.
Great artistic works, like Proust, or Hamlet, or, are often acutely meta-textual, to an extent that they feel almost like organisms becoming aware of themselves. And in fact we almost define the trajectory of artistic progression as a medium’s path to supreme self-consciousness.
But the news is different. Because the news, by and large, is one of the most essential tools we have in creating social cohesion and empathy, and to help people to understand real events in the world around them.
But it seems that finding out the news is just getting harder and harder. Because all anyone wants to tell me now is the Meta-News.
What do I mean by this exactly? Well, after reading this watch pretty much any TV news apart from the BBC World Service, or read pretty much any newspaper apart from the Financial Times, and you are likely to very quickly notice that about 50% of the airtime is devoted to coverage of the reaction to the news, or the process through which the news was obtained, or the difficulties in filming the news – with astonishingly little detail on what has ACTUALLY HAPPENED.
Nowhere is this worse than in the world of 24 hour live news, in which the irregular flow of real news poses as significant threat to the much more regular flow of actual minutes and seconds. One thing that remains constant however is the speed at which people speak, film and report the news. That makes it a godsend to the rolling news editor.
This whole phenomenon went way beyond satire some time ago, though it has fed some of the very best, from Brass Eye to Charlie Brooker.
But that doesn’t make it any less disturbing to try to discover the details and impact of the Osama Bin Laden, and have to try to weed out a couple of actual facts from amongst the debris of people’s emails, footage of strange macabre people dancing in Times Square and a randomised selection of tweets.
This last area is particularly painful. News knows that email is important, and that there is every chance Twitter might be even more important. What is the response of TV news? Use it as filler. The ultimate, infinite time-filler of opinion. What’s more, a bottomless pool of opinion – which means you can easily find opinion to back the agenda of the broadcaster. Perfect.
The result – a relentless flow of jabber, which makes the angry angrier, the old-fashioned ever more befuddled, and which to the vaguely tech literate looks like an old-fashioned headmaster putting on sunglasses and trying to do some tricks on a skateboard.
All of which is silly, and infuriating, but worst of all, represents a collective shrug by the news broadcasting industry at the creative potential inherent in the most connected age of mankind, to get people to understand and empathize with news in ways never achieved before, in favour of the news equivalent of the music you hear in lifts.
It’s not all bad. Anderson Cooper on CNN is immense, and his fluency in the multi-screen world is awe inspiring – including the seamless interaction of international coverage and inside accounts on Twitter and YouTube into his reports. This is what the new golden age of newscasting could be all about.
In the meantime, the great majority of news coverage is still rather self-excited, and lost in a tedious and iniquitous spiral of-Meta News. Let’s hope it emerges soon.