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Attention
Culture
Digital
Ghosting
Psychology
5 min read

Ghosting is not immature, it’s plain cruel

The dehumanising behaviour hiding in plain sight.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

On a dark street someone checks their mobile phone for messages.

‘Do you really believe that the moon only exists when you look at it?’ 

It’s a great question. Do you know who asked it? It sounds rather Shakespearean, doesn’t it? It’s got a touch of the – ‘that which we call a rose by any other name would smell as sweet’ - about it. 

But not so.  

Interestingly, it was Albert Einstein who asked this question. He asked it again and again – unable to relax into any answer his contemporaries could offer him. He thought, at least initially, that he was asking a question about quantum physics. But he wasn’t; not really. Einstein was asking what it means to exist, what it means to be. 

And that means that he was actually asking a theological question. And I, for one, would appreciate it if we would get into the habit of asking it too, just phrased a little differently. I’d like us to ask something a little like:  

Do you really believe that the person only exists when you text them back?’ 

Yes, I’m imploring us all to take an Einstein-esque approach to the phenomenon of ‘ghosting’.  

Ghosting, just to make sure that we’re all one the same page, is the act of abruptly and completely cutting off all forms of contact with another person, offering no form of prior warning nor any kind of subsequent explanation. To ghost someone is to perform a social cut and run, a relational dine-and-dash, if you will. This, of course, can happen in all kinds of contexts – in work situations, in friendships, and in the most niche of circumstances. There’s an incredibly popular podcast, the title of which – ‘My Therapist Ghosted Me’ - is a tongue in cheek reference to one of the presenters being inexplicably cut off by their own therapist. Ouch.

And so, ghosting causes a social injury, it inflicts a heart wound. Being ghosted, we are coming to realise, is a rejection of the most absolute kind.

But where this phenomenon is reaching astounding heights is in the context of romantic relationships. The technological age in which we live, where the majority of romantic relationships are now being initiated and established online, has meant that we’ve got ghosting down to a fine art. It’s become all too easy. And apparently, nobody is immune.  

Just recently, Billie Eilish – Oscar and Grammy award winning musical genius and all-round cultural icon - explained how she had recently been the victim of an almighty ghosting. She said,  

‘it was insane. I was like – “did you die? Have you literally died?” It was somebody that I’d known for years, we had a plan (to meet) and the day of… nothing. I never heard from him again.’ 

Imagine being ignored so suddenly and completely that your first instinct is that the person must have died, only to realise – they hadn’t died, you were just disposable to them. This is happening all of the time, there’s a generation of people who are having their sense of self and of the ‘other’ defined by this very phenomenon. 

What’s incredibly interesting is that in the span of a few short years, psychologists and relationship therapists have gone from speaking of ‘ghosting’ in terms of emotional immaturity, conflict avoidance and a lack of communication skills, to regarding it as a form of cruelty and even abuse.  

It is not primarily the intent of the ‘ghost’ that is causing psychologists to speak of ghosting in increasingly serious terms. Most ‘ghosts’ are cowardly, perhaps, but not sheer evil. Rather, it is the extraordinary depths of hurt that the behaviour inflicts (intended or not) upon the person who has been victim to it.  

We are learning that there are all manner of harmful things that ghosting does to our brains and all kinds messages that it sends to our self-esteem. Namely, that we weren’t enough for that person, that we’ve failed somehow, that we’re disposable, that we misread the situation, that we misread them, that we’re deficient in almost every kind of way.  

These lies inevitably fill the gaps left by the silence of the other person. False explanations, usually of the most self-depreciating kind, take advantage of that fact that no explanation was offered by the person who hurt us. The bewilderment itself becomes a form of torture. And so, ghosting causes a social injury, it inflicts a heart wound. Being ghosted, we are coming to realise, is a rejection of the most absolute kind.  

Ghosting is the symptom of a society in which we kid ourselves into thinking that people only come to life when our thoughts turn to them or our eyes rest on them.

But I think there’s even more to it. And this is where I return to Einstein’s question, and my modern, admittedly much less cosmic, re-imagining of it. Because underneath it all, I think that ghosting is a theological issue.  

To ghost someone is to act as if they do not exist because you have averted your gaze from them. It is, therefore, to deprive them of the fullness of their existence. Or, at least, to deny it. It is an act of deep diminishment. Do we really believe that the moon only exists when it is looked upon? Ghosting forces us to similarly ask – do we believe that we only exist when we are looked upon?  

So, you see, it goes deep. It cuts to the core of what it means to be.  

Ghosting is the symptom of a society in which we kid ourselves into thinking that people only come to life when our thoughts turn to them or our eyes rest on them. If we can’t see the suffering we’ve caused, it isn’t happening. If we’ve cut someone out of our life, they aren’t existing. At least, we can behave as if they aren’t.  

One could argue that it’s a form of dehumanization, one that’s hidden in plain sight.  

And that, alongside all of the other reasons (or perhaps undergirding them), is the reason that I think being ghosted cuts us to the core; it brings into question the very reality of our existence.  

‘Do you really believe that the moon only exists when you look at it?’ 

Einstein’s question may feel a little abstract but it’s actually as tangible and personal as it gets. 

Article
Art
Awe and wonder
Culture
5 min read

The late Pope Francis was right – Antoni Gaudi truly was God’s architect

Sanctity can indeed be found amongst scaffolding, as Gaudi’s Barcelona beauties amply demonstrate.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

Looking up at the front of Gaudi's cathedra; as the sun comes out from behind the spires.
Sagrada Familia cathedral, Barcelona.
Csaba Veres on Unsplash.

Barcelona is a magnet for tourists and art lovers because of the sense of exuberance and abundance created by the sinuous, sensuous curves and colours of Antoni Gaudí i Cornet’s amazing buildings. Whether we are encountering the shifting sea-like blues of the Casa Batlló, the abstract collage of the wave-like trencadis mosaic bench at Park Güell, the whirlpool-like undulations on the ceiling at Casa Milà, the columns in the Crypt of Colònia Güell which form a wood of trees, or the sunflower forms on the ceiling of the Sagrada Familia, Gaudí's work possesses an ecstatic sense of natural beauty. The Sagrada Familia, his still unfinished magnum opus, attracts over 4.5 million visitors a year, 85 per cent of whom come from outside Spain. 

Known as ‘God’s Architect,’ Gaudí, in one of the last acts by the late Pope Francis, was declared Venerable, a step on the path to sainthood. He was recognised for the heroic virtues which encompass faith, hope, and charity, with Divine charity being paramount. The Vatican’s announcement noted that when Gaudí  accepted the task of directing the project of the Basilica of the Sagrada Familia in 1883, his focus was “making art a hymn of praise to the Lord” and “he considered it his mission to make God known and bring people closer to Him”. Also noted was the humility of his death after being struck a tram on June 7, 1926. Unrecognized, the architect was taken to the Hospital de la Santa Creu, the city’s hospital for the poor and, after receiving the last sacraments, he died three days later, on June 10. Around 30,000 people then attended his funeral. 

The Sagrada Familia is primarily experienced as a forest of columns through which light falls in glowing colours. As in medieval cathedrals the eye is drawn upwards towards the light and glory of God, here by means of slender trunk-like columns, which branch (for reasons of form and function) before the ceiling of the basilica, where natural and artificial light mingle in star-like shapes resembling sunflower heads. Lower down, the abstract stained glass of Joan Vila-Grau filters the blazing natural light of the Catalan sun through primary colours to create a sense of mystery even among the thousands of tourists crowding the space for the best camera angles. 

Among the columnar forest and stained light (if one ignores the baldachin, which is an example of the gaudy Gaudí), there is an almost total absence of explicit Christian iconography, creating a special interior sense of spiritual space. Unlike a medieval cathedral where the Christian story is told inside in stained glass, Gaudí placed the narrative element on the exterior of the building to form a Bible written in stone through three facades: Nativity, Passion and Glory. 

Much of Gaudí's work was marked by his big passions in life: architecture, nature and his Catholic faith. He integrated into his architecture a series of crafts in which he was skilled - ceramics, stained glass, wrought ironwork and carpentry - and introduced new techniques in the treatment of materials, such as trencadis, a special type of mosaic made of waste ceramic pieces. 

After a few years under the influence of neo-Gothic art and Oriental techniques, Gaudí became part of the Modernista movement which was reaching its peak in the late 19th and early 20th centuries. His work transcended mainstream Modernism, culminating in an organic style inspired by nature. He was the great sculptor, utilising natural form in his work both for utilitarian and aesthetic reasons. He described nature as “the Great Book, always open, that we should force ourselves to read” and, as the art critic Robert Hughes recognised, thought that “everything structural or ornamental that an architect might imagine was already prefigured in natural form, in limestone grottoes or dry bones, in a beetle's shining wing case or the thrust of an ancient olive trunk.” 

It is said that Gaudí’s aim at the Sagrada Familia was to bring heaven and earth together. 

Although driven, single and celibate Gaudí was not an ascetic loner. He surrounded himself with work colleagues to whom he gave significant responsibility. He was also well aware that work on the Sagrada Familia could only be completed by the architects, sculptors and craftspeople who would follow his team and plans. Gaudí and his primary patron, Eusebi Güell, were men of great vision and vast ambition, resulting, among other accomplishments, in the Crypt of Colònia Güell, which consists only of the lower nave of what was intended to be a larger building. Their example suggests that to reach for the impossible and fail can nevertheless result in significant achievement. 

The Crypt of Colònia Güell is a culminating point in Gaudi's work, where he included for the first time practically all of his architectural innovations. He said that without the large-scale experiments he undertook there, he would not have dared apply those same geometries to the Sagrada Familia. It is the place where, according to Japanese architect, Arata Isozaki, he “overcame all established limits regarding shapes.” 

This church of Colònia Güell was blessed by the Bishop of Barcelona in 1915 and today functions both as parish church and tourist attraction. Like the Sagrada Familia, albeit on a smaller more intimate scale, its varied columns form a wood of trees. Flower-like, cross-shaped stained glass in primary colours creates a warmth to the space which is complemented by the red brick forming the walls and catenary arches of this cave-like space.  

This is a warm, womb-like enclosure; intimate yet archetypal. It is real and usable communal space while also being of great architectural worth, innovation and beauty. Here the ‘heaven in ordinarie’ of the Eucharist is celebrated in the surround of natural forms recreated by man-made means. It is said that Gaudí’s aim at the Sagrada Familia was to bring heaven and earth together. It may well be that this aim is more fully realised in the earthy intimacy of the Colònia Güell’s wooded Crypt than in the soaring grandeur of the Sagrada Familia. 

In welcoming the news that Gaudí had been declared Venerable, Cardinal Juan José Omella, Archbishop of Barcelona, said “It is a recognition not only of his architectural work but something more important.” He continued: “He is saying you... amid life's difficulties, amid work, amid pain, amid suffering, are destined to be saints.” Ultimately, he notes, “Gaudí’s life and work show us how beauty and holiness can transform the world” as they include the “recognition that sanctity can be found amid scaffolding, suffering, sublime obsession.”

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