This is Your Brain on Technology: Don Delillo’s White Noise

In Don DeLillo’s White Noise, the pervasive influence of technology infiltrates the lives of its characters, creating a cacophony of distractions that mask genuine human interaction. The protagonist, Jack Gladney, frequently refers to the television as the ‘voice’ from the other room, symbolizing its omnipresence in their lives. In the supermarket, the loudspeaker overwhelms personal conversations, illustrating how technology disrupts the fabric of family and community life. With the average American family spending over 6 hours a day in front of the television (Rue), the medium becomes an intrusive family member that capitalizes on human suffering, pulling individuals away from meaningful connections with one another.

The Distraction of Modern Life

In the contemporary fast-paced culture, distractions abound, creating emotional and physical distance between family members. The pressures of a capitalist society push individuals toward the pursuit of higher education, lucrative careers, and material possessions. As a result, traditional values such as marriage and family often take a backseat, leading to increased stress and isolation. The introduction of television as a distraction further exacerbates this issue, particularly affecting the youngest family members. While it may be challenging to quantify the extent of television's impact on children, its influence is undeniable. Richard Fabes notes that “the potential of television to shape viewers’ conceptualizations of family life is strong” (2), suggesting that the medium has the power to influence perceptions of family dynamics.

The Impact of Violent Imagery

Local news stations often prioritize sensational stories, captivating audiences with depictions of violence, tragedy, and crime. DeLillo captures this phenomenon, noting that “It’s more or less universal, to be fascinated by television disasters” (66). The morbid fascination with televised disasters reflects a broader cultural trend, as Neil Postman asserts in Amusing Ourselves to Death, describing America as “A culture whose information, ideas, and epistemology are given form by television, not by the printed word” (29). Television’s accessibility and speed of information dissemination overshadow its potential for education, often presenting viewers with a barrage of violent and sexual imagery.

The Desensitization of Society

Both Postman and DeLillo highlight the effects of negative imagery on viewers. Postman argues that television's primary function is entertainment, stating, “Entertainment is the supra-ideology of all discourse on television” (87). With news programs predominantly covering negative events, it is no surprise that audiences seek entertainment in local atrocities. This desensitization leads viewers to expect such tragedies within their own communities. Jack Gladney's comments on international disasters reveal an unsettling normalization of violence: “They have tremendous potential with their famines, monsoons, religious strife, train wrecks, boat sinkings, et cetera” (DeLillo 66). This perspective illustrates how accustomed society has become to consuming disaster as entertainment.

Media Attention and Victimization

For those experiencing tragedies, invasive media attention is often unwelcome. After a toxic airborne event in White Noise, a character laments the lack of media coverage, questioning, “Shouldn’t we be yelling out the window ‘Leave us alone, we’ve been through enough’?” (DeLillo 155). This sentiment underscores a broader commentary on the media's role in validating suffering. John Duvall notes that “the awe and terror of this man-made disaster can only be validated through electronic media” (436). Victims often feel their pain is disregarded without the media’s attention, leading to feelings of anger and fear.

The Capitalism of News

DeLillo critiques the insatiable nature of news media, which competes for viewer attention in a capitalist framework. Duvall argues that “Network and cable news programs, competing for a market, operate under capitalism’s demand to make it newer, thus turning ‘news’ into another genre of entertainment” (437). This profit-driven model fosters a relationship where sensationalism trumps the ethical implications of reporting. As disasters become aestheticized, the line between news and entertainment blurs, creating a homogenous space for consumption.

The Family Dynamic and Television

The relationship between the characters in White Noise and their television reflects a deeper societal issue. Duvall observes that “the voice of the television intrudes at odd moments, almost as if the television were a character” (447). This intrusion becomes humorous, as the television's arbitrary interjections highlight its role as a constant presence in their lives. One of the daughters, Steffie, even recites ‘Toyota Celica’ in her sleep, illustrating the extent to which advertising infiltrates their consciousness. Fabes asserts that “Television viewing is so entrenched in American families that it should be regarded as an important socializing influence” (1), emphasizing the significance of the medium in shaping family dynamics.

Passive Spectatorship and Isolation

Even families that communicate well can find themselves transformed into passive viewers in the presence of a television. Vincent M. Rue notes that “In the presence of the TV, the family tends to observe behavior that is more parallel, or individual-oriented, than interactive” (Walters and Stone qtd. in Rue). Jack Gladney articulates the family's collective grievances towards the television, stating, “If our complaints have a focal point, it would have to be the TV set” (DeLillo 85). The television becomes an uninvited guest, leading to a breakdown in communication and interaction among family members.

Conclusion: The Illusion of Connection

DeLillo’s White Noise presents a poignant critique of the role of technology in modern life, exposing the fragmented nature of family connections in the face of pervasive media. The television serves as a metaphor for the empty noise of contemporary existence, where genuine interactions are supplanted by passive consumption. Families may gather around the television, but their experiences often remain isolated, devoid of meaningful connection. As Fabes notes, “Families may gather around the set but remain isolated in their experiences” (2). In this way, the television acts as both a distraction and a barrier, obscuring the genuine human connections that are so vital to the family unit.

Works Cited

DeLillo, Don. White Noise. New York: Penguin Books, 1985.

Duvall, John N. “The (Super) Marketplace of Images: Television as Unmediated Mediation in DeLillo’s White Noise.” Arizona Quarterly. 50:3 August 1994.

Fabes, Richard A., Patricia Wilson, and F. Scott Christopher. “Television and the Family: A Time to Reexamine the Role of Television in Family Life.” Family Relations. Vol. 38, No. 3. pp. 337-341. Jul. 1989.

Postman, Neil. Amusing Ourselves to Death. New York City: The New York Times Company, 1985.

Rue, Vincent M. “Television and the Family: The Question of Control." The Family Coordinator. Vol 23 p. 73-81. 1974.