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Digital

1 July 2024

5 min read

Browsing our bias

Should we curate our feeds for community or for challenge?

Paula Duncan

Paula Duncan is a PhD candidate at the University of Aberdeen, researching OCD and faith.

A woman stands between two table, one of friends and the other more argumentative.

Nick Jones/Midjourney.ai.

“Would you like to continue using this app?”

I stare at the question on my phone screen. It’s there by design – I have it set to prompt me every five minutes so that I don’t fall into the trap of endless scrolling. Often, it’s enough to make me close the app and move on with my day.

Today, however, I’ve been doomscrolling - endlessly flicking through the discussions around the General Election. I have already told my phone I’d like to keep this social media app for another five minutes, and another five minutes, and another. I didn’t open X with any real hope of finding answers to my many questions about the upcoming election (the crucial one being: “who should I vote for?!”). From there, I’ve fallen down a rabbit hole. There is simply too much information, and I can’t always tell what is real or true. I can’t make it more than two or three posts before I stumble across yet another logical fallacy or false equivalency.

When my phone prompts me again to close the app, I pause. I have suddenly realised that I’m upset. It has taken the pop-up box on my phone to make me pause and notice that that I’m overwhelmed and helpless but I still feel like I need to speak, say something, anything useful. But maybe there is just nothing I can say. Maybe I can’t usefully add to this debate. Or perhaps I can’t usefully discuss it in this format.

There is little nuance in the discussion – people are simply yelling at one another.

I close the app to leave this angry space.

I’m not sure I have gained any real insight into the debate from this experience. I can’t help but think that many people are here only to assert their opinion. Nobody is here to listen. Nobody is here to learn. This sort of platform encourages us to speak, to be seen speaking, but doesn’t promote discussion and debate in a way that is constructive. Let alone create a safe well-lit space for it. It doesn’t take long to find someone supposedly invalidating another’s argument by pointing out a grammatical mistake. There is no grace here.

I’m wary of following or subscribing to users who have completely different viewpoints from my own because I am concerned about my own digital image.

I find this online space a difficult one to occupy. My feed is mostly friends and a couple of carefully chosen pages. There’s nothing that is going to particularly challenge me there. I don’t particularly want social media to challenge me. It’s comforting, more than anything – a way of staying in touch with friends and family (particularly during the pandemic) and keeping up to date with organisations I’m involved in.

I don’t tend to go on social media to engage in discussions or debates. I know that this leads to something of a confirmation bias. If I get all of my information from the same sources, and from the same people all the time, I’m not going to learn about other perspectives. If I follow the trade union that supports my workplace, it’s obvious that I will only receive information supporting one particular party. If the only people I follow are people who share similar views as mine, I will simply find myself with my own opinions and feelings being validated.

It’s also worth noting that, perhaps shamefully, I’m wary of following or subscribing to users who have completely different viewpoints from my own because I am concerned about my own digital image. I worry about someone opening my page and making assumptions about my views simply based on those I follow online. I know others share this concern. Public social media accounts are sometimes a delicate exercise in personal branding. I am likely confirming someone else’s bias with my social media presence. I’m almost definitely part of that cycle.

I find myself torn between wanting to use social media more effectively to learn from other people and wanting to make it literally a pastime.

There are certainly arguments to be made about whether this approach to social media is good or bad. It’s certainly comforting though. At the end of a long day, a video of my friend’s dog is going to improve my day just a little bit more than trying to pick apart the truth from the lies in social media and in politics more generally. It’s important that I remain conscious that this is the way I have chosen to use social media. I can’t be complacent.

If I engage with other perspectives and debates, I have to do so more consciously and deliberately. I try and drop in and out of those spaces through the news tabs, tags, searching specific people who I know hold different viewpoints, or looking up specific topics. It always runs the risk of falling into the trap I’ve found myself in today – scrolling through seemingly endless perspectives that I don’t agree with, people wishing harm on another for having a different perspective, a vicious “us and them” narrative that follows through every other post. I need to learn where I can find the most accurate and reliable information. More importantly, perhaps, I need to learn how to close apps when I find myself in angry spaces where debate cannot flourish (and I’m almost never going to find that in a comment section.)

Ultimately, I don’t think I’ll stop carefully curating my social media feeds – mainly as an act of self-perseveration. It’s not that I don’t care – it is never that I don’t care. Just that the 24-hour news cycle becomes too much when there is little that I can do. I’m not going to figure out who to vote for my scrolling arguments on X or Facebook.

I find myself torn between wanting to use social media more effectively to learn from other people and wanting to make it literally a pastime. There is certainly potential for learning - I can access real-time perspectives on almost anything. On the flipside, it is becoming increasingly difficult to discern what is real and what is fake news, or simply AI generated. On the flip side, sometimes I just want to find out if anyone else was as confused by the answer to a TV quiz show as I was or just see a picture of a friend’s cat sunbathing on a windowsill.

How might we find this balance? Sadly, it seems that this is a conversation that’s now only worth having offline.

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28 July 2024

8 min read

Paris 2024 and Christianity’s opening ceremony

A subversive Olympic opening relies on Christianity’s own beginnings.

Tim May

Tim is an associate vicar of King’s Cross Church (KXC), a London-based Anglican church.

A painting of the Last supper showing Christ and the disciples at a table.

da Vinci's Last Supper.

Public domain, via Wikimedia Commons.

The opening ceremony of the 2024 Paris Olympic Games, held on the River Seine, has unsurprisingly caused controversy. Such moments, where one nation through pageantry and spectacle performs itself to all others, never fail to draw comment. The 2024 ceremony has drawn various detractors, not least those claiming the ceremony was an “attack on Christianity.”

You might remember the masterful opening to the London 2012 games. Director Danny Boyle’s theatrical spectacle told a symbolic story of nationhood. By depicting the bucolic, the industrial, and the NHS, he considered the UK in both dark moments and at its brightest. With a great exhibition of British humour, James Bond appeared to parachute out of a helicopter with HRH Queen Elizabeth II, while Mr Bean entertained the whole wordlessly through sardonic single-finger piano playing.

Widely held to be a creative triumph, Boyle was preceded by the Beijing Olympics where its opening ceremony, CGI fireworks put to one side, wowed the world with unprecedented size and scale, reminding us that we live in an era of Chinese power.

Tokyo 2021, delayed by a year due to the Covid-19 pandemic, involved 1,800 drones filling the skies – a faultless demonstration of a technological age where Japanese engineering has been indispensable.

The sporting side of things was easily forgotten as we witnessed an emphatically kitsch depiction of French history and culture.

In 2024 Paris, the weather was perhaps the greatest focus of attention, which suited the British commentary perfectly. We Brits surely are the world experts in making light-entrainment out of describing rain. Soggy athletes sailed the Seine on a variety of uninspiring looking barges. Sanguine but soaked, the athletes dutifully waved and smiled; adorned not in gold, silver or bronze but flimsy ill-fitting plastic ponchos.

Overshadowing this athletes’ parade were the creations of theatre director Thomas Jolly, mastermind of the whole ceremony. Boldly deciding to choose the city as a stage, rather than make use of the conventional choice of a stadium, the sporting side of things was easily forgotten as we witnessed an emphatically kitsch depiction of French history and culture.

Although the weather somewhat thwarted proceedings, it was the content of the performance that drew criticism.

Far-right politicians decried Jolly’s offering as a violation of French nationhood. Conservative pundits focused their criticism on Jolly’s elevation of LGBTQIA+ culture.

Christian commentators have, with various degrees of rancour, condemned a strange scene where Leonardo da Vinci’s famous painting of the Last Supper was subverted by a pastiche of ostentatiously queer characters. At the centre of which was not Jesus Christ but a robust-looking figure resembling Lady Liberty.

Elon Musk spoke up in protest too, posting that it was ‘extremely disrespectful to Christians.’ Full-throttled cries of blasphemy resound, and probably for good reason. What we witnessed was Christ being usurped and replaced by the insurgency of self-expression and the currently sacred idea of diversity and inclusion.

Ahead of the ceremony, Jolly told British Vogue about the heart behind his creation: “there is room for everyone in Paris. Maybe it’s a little chaotic, it’s true, but that allows everyone to find a place for themselves.” The opening ceremony will be a success, Jolly says, “if everyone feels represented in it.”

I guess this isn’t the case for the thirty per cent of the world who would identify as Christian. That’s because every family and flavour of Christianity would recognise that Holy Communion, the central act of Christian Worship for 2000 years, the institution of which is depicted in da Vinci painting, was being publicly and globally vandalised.

When Christianity becomes moral wallpaper to an entire civilisation and its culture, it unsurprisingly becomes a target for satire.

How can we make sense of this moment? Is there anything more for the Christian to contribute other than indignation or outrage?

Whenever something like this occurs it reminds me of the central role Christianity has played in Western culture. The intelligibility of the ceremony’s controversial scene rests on the idea that da Vinci’s painting is a globally recognised symbol. Otherwise, we would have just been watching a really strange dinner party with no food. But with Da Vinci’s famous painting in our mind the subversive power of Jolly’s scene hits hard.

The view, popularised by the historian Tom Holland among others, would go as far as to suggest that Christianity’s effect on Western culture is so pervasive that even moments of protest and subversion, as we saw in the Paris ceremony, are cultural phenomena inherited from the Protestant Reformation. Regardless of how far you agree with Holland’s thesis, Jolly's subversion only makes sense because of the dominant role Christianity has played in shaping the western imagination, and that is a position of latent power that should cause pause for reflection.

I’ve read half a dozen articles from a certain sort of right-wing journalist who parrot thoughts like, “they wouldn’t do that with the Quran”. That might be right, but it fundamentally misses the point. Blasphemy, let’s say, in Iran, would certainly not involve the Last Supper.

The scene made sense only because of Christianity’s now diminishing position of power but it's a position of power, nonetheless. When you align Jesus Christ with the status quo, with the corridors of power, when Christianity becomes moral wallpaper to an entire civilisation and its culture, it unsurprisingly becomes a target for satire. Especially for anyone or any group that feels persecuted or marginalised. I’m not for a moment defending what Jolly did but trying to understand why it happened.

The last supper, the meal Jesus shared with his friends the night before his crucifixion, was the opening ceremony of Christianity.

The kind of cultural power Christianity has had in the West comes at the cost of clarity because Christianity was itself originally a counterculture. Crucifixion, a supreme act of imperial domination, became the foundation of Christian thought and ultimately its greatest symbol. The original Christian movement was seen itself to be blasphemous for contradictory reasons by both the Jewish and Roman religious leaders of the time.

The fundamental difference between Christianity and merely holding conservative values that should not be transgressed, is God. It was genuine belief in Jesus Christ as the long-awaited messiah of the Jewish people and the Saviour of the whole world - a belief that led his first bedraggled and bewildered disciples to live in such radical and counter-cultural ways that many were killed by the Roman Empire.

It is right for his followers today to speak up and say how wrong it is when the special and sacred things he did for them are yet again trampled on in public, but it's also worth remembering that’s how the story started - with Jesus’ body brutalised and broken. That somehow, in moments like this, we miss the power of Jesus when we simply defend him on grounds of “decency” and “respect.” Instead, if we return to the original events themselves, Jolly’s depiction, in its mockery and subversion, actually reveals the power of The Last Supper.

Da Vinci’s painting was not intended for a gallery but was originally painted on the wall of a fairly obscure monastery, transported to a gallery years later to become primarily art, it is more a foundational aid to the faithful to remember the original events Da Vinci is depicting.

The last supper, the meal Jesus shared with his friends the night before his crucifixion, was the opening ceremony of Christianity. Every time a Christian takes Holy Communion - the central act of Christian worship for over 2,000 years - they remember the opening ceremony where:

“Jesus took bread, and when he had given thanks, he broke it and gave it to his disciples, saying, “Take and eat; this is my body.” Then he took a cup, and when he had given thanks, he gave it to them, saying, “Drink from it, all of you. This is my blood of the covenant, which is poured out for many for the forgiveness of sins”

The most peculiar part of the opening ceremony of Christianity - more peculiar than any sight we saw last night - is the presence of Judas. The biblical accounts describe Jesus’ knowledge of Judas’ intentions to betray him to the Romans, and yet Judas is still welcome to the table. If there’s space for Judas, then there is space for all of us. The opening ceremony Christianity cannot be remembered without the presence of Judas the betrayer, and Peter the coward or Thomas the doubter. The great irony and the big mystery of the Christian Faith is that you can’t out-sin grace. You can mock it and subvert it, but Christ died for the ungodly.

Last night’s scene doesn’t come close to the original events. Not only was Jesus betrayed by his friends, he was then tortured, humiliated and executed publicly in just about the most excruciating way humans have devised. That was blasphemy of another level, but it was also victory because God was choosing to love inclusively beyond any human metric.

Tom Holland may be right that no part of western culture has escaped Christian influence, but I want more than a little downstream influence.

This means that there’s nothing more inclusive than the opening ceremony of Christianity and yet, at the same time, nothing more exclusive. It is not us who provide the food but God. In Jolly’s performance, the Last Supper scene was concluded by the French actor Philippe Katerine, emerging painted head to toe in blue. Whilst this bearded smurf caused baffled sniggers across the planet, Katherine was apparently representing Dionysius, The Greek god associated with wild drunken parties. The food on offer by Jolly is wild desire and self-expression. In Christianity the food is God himself, his body and his blood. God’s love is given not simply expressed, even to those who will betray him.

Moments like this will become harder for Christians to navigate. It feels like just as a wave of secular liberalism wants to finally vanquish the power position Christianity has painted for centuries, a new conservative vanguard of resistance is rising to protect or enrol it for its own means. From the mouth of Modi or in Trump’s tirades, a new religiously armed populism is raging. Tom Holland may be right that no part of western culture has escaped Christian influence, but I want more than a little downstream influence.

Take us back to the opening ceremony, to the foundation of Christian faith. Take us to the waterfall, where the torrent flows straight down from the mountain, and save us from the slow-moving sludge of the wide river downstream. Take me back to the opening ceremony of Christianity. To the table where God welcomes a Judas like me, to the meal where the master became a servant and washed his followers' feet. Take me back to eat food I could never afford and wine I could not create.