A TV Licensing report out recently revealed that there are still 7,000 households watching TV in black and white. You might wonder why. Stuart Jeffries from the Guardian has a theory.
Black and white TVs are a lo-fi rebuke to a world gone wrong
One champion of black and white, TV historian Jeffrey Borinsky, asked rhetorically yesterday: “Who wants all this new-fangled 4K ultra HD, satellite dishes or a screen that’s bigger than your room when you can have glorious black and white TV?” Viewed thus, black and white TV is like craft beer, lo-fi reproof to a world gone wrong.
It’s a good point. Technological “progress” often just gives us more of what we don’t want. Endless choice is misery-making rather than liberating. No wonder the 7,000 rebel against colour TV’s gimcrack lunacy of red buttons; endless channels screening nothing worth watching; the binge-based death-in-life of modern viewing, and the whole lie that having access all the time to everything will make us happy rather than confused and sad.
The report doesn’t break down the demographics of those 7,000 into lavishly bearded, vinyl-collecting, folk-loving, vegan hipster devotees of the slow movement; but it’s my guess that this group is well represented.
I doubt it. Perhaps the sets (or their owners?) are just simply dying off. As the Guardian says elsewhere,
7,000 UK households still watching TV in black and white
Regular colour broadcasts began on BBC Two in July 1967 with the Wimbledon tennis tournament. The number of black and white licences issued each year has since been in steady decline since. In 2000, there were 212,000 black and white TV licences but by 2003 that number had shrunk to 93,000. By 2015, the number had dipped below 10,000.
I did remind me, though, of the old black and white portable I had in my student days. And specifically, of watching a strange little art film about television, starring solely the voice and face of the newsreader Richard Baker. I can’t find anything about it on the web now, or really remember much about it at all. Just a close up of his face, in grainy, flickery black and white (to me, anyway), intoning, “This is my voice. This is not my voice, merely a recording of my voice. This is my face. This is not my face, merely a recording of my face.” Or something.
Watching it on a rickety black and white portable TV set really brought home the artificiality of the medium: the people on your screen are not really there, they don’t actually exist as we imagine them too – it’s all mediation. I wasn’t so much watching television as looking at a site-specific installation which included a TV screen and a recording of one of the most trusted voices in Britain.
Richard Baker: The birth of TV news
“All I did in that first programme, at 7.30pm on 5 July 1954, was to announce, behind a filmed view of Nelson’s Column: Here is an illustrated summary of the news. It will be followed by the latest film of happenings at home and abroad.”
“We were not to be seen reading the news because it was feared we might sully the pure stream of truth with inappropriate facial expressions, or (unthinkably) turn the news into a personality performance.”
I was happy to read that the work of sci-fi illustrator Simon Stålenhag may be on our screens, in the not-too-distant future.
Simon Stålenhag’s dystopian art to come to life in a new Amazon sci-fi TV series
Its eight-episode run will tell the tale of the town of people who live above ‘The Loop’, a machine built to unlock and explore the mysteries of the universe. A cast hasn’t been announced, but we do know Mark Romanek (Never Let Me Know) will be directing the pilot, while Legion‘s Nathaniel Halpern and Planet of the Apes sequels director Matt Reeves are on board as executive producers.
They’re talking about his book Takes From The Loop, but my money’s on his other work, The Electric State, being the bigger winner. As I mentioned before, this one may also make it to the big screen, if the Amazon page for its Kindle edition is to be believed.
This is great. There are so many mindfulness and relaxation apps out there, this one fits right in.
Multimedia artist Stine Deja satirises the commodification of mindfulness
“I was inspired by the over-branding, commercialisation and digitisation of relaxation. You can literally buy everything and I thought it would be interesting to push the idea of commercial wellbeing to the max,” Stine explains. Her idea came to her after she read a study that showed people to be more relaxed when watching television than when sleeping. The 4K Zen hat, which works like a portable darkroom, is symbolic of more than commercialised mental happiness. It also visualises an ideal of wellbeing as one of isolation, where the user escapes into a virtual universe inhabited only by them.
A potentially depressing look at the impact that new television technologies are having on family life.
The end of watching TV as a family
For the first time, children aged five to 16 are more likely to watch programmes and videos on devices such as laptops and mobile phones, rather than on television screens. It means that watching television within families is becoming a private activity, individual and solitary. It’s wearing headphones in the bedroom rather than sprawled together in front of the box. It’s Netflix on the mobile rather than a Sunday afternoon television movie. Homes are places where people are alone together.
As a parent of teenagers, that’s something I’ve noticed too; there’s no rush to switch the telly on as soon as they get home from school like we used to. But perhaps we should put our rose-tinted glasses down and not be too quick to equate ‘different’ with ‘bad’. Yes, things have changed but it’s how we, as parents, deal with that change that matters.
05/11/1926 – 02/01/2017
Adrian Searle on John Berger: ‘Art for him was never apart from being alive’
He was a natural and one of the reasons Ways of Seeing was so good was that he never came over as the patrician smart-arse superior critic. He made you feel he was thinking on his feet, right there in front of you. John would screw up his face and affect an expression somewhere between bewilderment and anguish, before launching into an argument that seemed to arrive fully formed. He was enormously compelling.
How John Berger taught us to see
Talking with John is enormously pleasurable but quite strenuous. There is no bullshit. He has changed his life so radically and so often because he cannot bear idle conversation. Suddenly everything you say becomes more weighted because John is a great listener. You talk and he listens and, often quite slowly responds. But both the listening and the response are so charged that you feel you are in a heightened form of conversation and that John’s attention makes you more intelligent, more consequent.
“PossibilityU’s data-driven approach to college matching isn’t new, but Mr. Jarratt’s recommendation algorithm is unique. Rather than starting with a list of questions about what students are looking for, PossibilityU asks users to enter up to three colleges that they are interested in. It then spits out a list of 10 other, similar colleges to consider. A premium paid subscription allows students to compare an unlimited number of colleges and provides application deadlines and other advice. It’s kind of like Netflix’s movie suggestions”
“Brazil-based Illustrator Frederico Birchal has created a series of minimalistic posters featuring the costumes of popular movies and TV shows.”
A psychiatrist’s (and Charlie Brooker’s) insightful perspective on news coverage’s perpetuation of mass shootings in schools.
“Maybe you got a new TV for Christmas. Or maybe you just got one recently. Maybe you are thinking of buying one. Whichever is the case, take heed: your TV will try very, very hard to make whatever movies you watch on it look not just bad, but aggressively, satanically, puppy-drowningly bad.” …