The human brain is a magnificent organism that allows people to focus their attention on one thing and ignore another thing. Cognitive scientists call this controlled attention– everyone else calls it concentrating. Unfortunately, there is also something called automatic attention. While controlled attentionis the result of deliberate intent, automatic attentionis triggered by our base instincts, which feed on the shocking and outrageous. My wife and I call this a “car wreck” – no matter how hard you resist…you just have to take a look. However, a challenge to the attention seekers arises when something that was shocking last week is no longer shocking. This generates a race to the bottom as people go to greater and greater lengths to trigger our automatic attention.
Composition
Getting people’s attention is nothing new, but the idea of harnessing the power and potential of mass-attention is credited to the British propaganda effort during the world wars. Since that moment garnering attention has become a precious resource for almost every commercial endeavor. According to author Tim Wu in his book The Attention Merchants, the first commercial enterprise to adopt attention harvestingas their primary business model was the New York Sun.
They wrote lurid, vulgar attention-grabbing stories, developed an enormous readership and became profitable by selling access to that readership though advertisements. This mode of operation is so commonplace today it keeps us from recognizing the historical significance of this monumental shift.
Another milestone in this race to harvest people’s attention took place in 19th century Paris and involved placing images on advertising posters. For the first time, artists were commissioned to create attention-grabbing commercial posters with bright colors and energetic women, like the one shown here by Henri de Toulouse-Lautrec. Over his career, Toulouse-Lautrec produced more than 360 prints and posters. As an artist, Henri was known for painting people in their everyday environments, often showcasing the unglamorous side of nightlife. He emphasized the individual by creating a strong silhouette – a technique he exaggerated in his posters. These posters were strategically placed in spaces occupied by people between focused tasks, when our mind is looking for something to do – such as a space where one might wait for a streetcar. Today these posters may seem tame and unsophisticated, but in 19th century Paris these compositions were a “car wreck.”