"Television knows no night. It is perpetual day. TV embodies our fear of the dark, of night, of the other side of things"
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Television, for Baudrillard, isn’t just a medium; it’s an atmosphere that cancels the oldest human rhythm: night as interruption, as privacy, as the sanctioned time for not knowing. “Perpetual day” lands like an accusation. It frames TV’s glow as a kind of anti-darkness technology, a domestic sun that keeps anxiety at bay by keeping images flowing. Darkness is where the mind wanders, where meanings loosen, where the “other side of things” can’t be neatly pictured. Television’s promise is that nothing has to remain unseen long enough to trouble us.
The subtext is less about literal programming than about a culture trained to treat uncertainty as a defect. TV’s continuous presence performs reassurance: if the screen is speaking, the world is legible; if the world is legible, it is manageable. That’s why the metaphor is so sharp: day suggests surveillance, exposure, an enforced clarity. Night suggests interiority, ambiguity, the possibility that reality contains gaps the image can’t fill. Baudrillard’s cynicism is that TV doesn’t illuminate the dark so much as erase it, replacing depth with a steady stream of visible, consumable surfaces.
Context matters: Baudrillard wrote in an era when mass broadcast TV was the central hearth of the household and the central engine of “hyperreality,” where representation starts to outrank the represented. The screen’s endless daylight becomes a cultural discipline: stay awake, stay plugged in, keep the unknown at a safe distance.
The subtext is less about literal programming than about a culture trained to treat uncertainty as a defect. TV’s continuous presence performs reassurance: if the screen is speaking, the world is legible; if the world is legible, it is manageable. That’s why the metaphor is so sharp: day suggests surveillance, exposure, an enforced clarity. Night suggests interiority, ambiguity, the possibility that reality contains gaps the image can’t fill. Baudrillard’s cynicism is that TV doesn’t illuminate the dark so much as erase it, replacing depth with a steady stream of visible, consumable surfaces.
Context matters: Baudrillard wrote in an era when mass broadcast TV was the central hearth of the household and the central engine of “hyperreality,” where representation starts to outrank the represented. The screen’s endless daylight becomes a cultural discipline: stay awake, stay plugged in, keep the unknown at a safe distance.
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| Topic | Deep |
|---|---|
| Source | Help us find the source |
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