Why Public Beheadings Get Millions of Views | Frances Larson | TED Talks

88,480 views ・ 2015-10-13

TED


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00:12
For the last year,
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everyone's been watching the same show,
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and I'm not talking about "Game of Thrones,"
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but a horrifying, real-life drama
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that's proved too fascinating to turn off.
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It's a show produced by murderers
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and shared around the world via the Internet.
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Their names have become familiar:
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James Foley, Steven Sotloff, David Haines, Alan Henning, Peter Kassig,
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Haruna Yukawa, Kenji Goto Jogo.
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Their beheadings by the Islamic State
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were barbaric,
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but if we think they were archaic,
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from a remote, obscure age,
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then we're wrong.
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They were uniquely modern,
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because the murderers acted knowing well
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that millions of people would tune in to watch.
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The headlines called them savages and barbarians,
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because the image of one man overpowering another,
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killing him with a knife to the throat,
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conforms to our idea of ancient, primitive practices,
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the polar opposite of our urban, civilized ways.
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We don't do things like that.
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But that's the irony.
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We think a beheading has nothing to do with us,
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even as we click on the screen to watch.
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But it is to do with us.
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The Islamic State beheadings
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are not ancient or remote.
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They're a global, 21st century event,
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a 21st century event that takes place in our living rooms, at our desks,
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on our computer screens.
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They're entirely dependent on the power of technology to connect us.
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And whether we like it or not,
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everyone who watches is a part of the show.
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And lots of people watch.
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We don't know exactly how many.
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Obviously, it's difficult to calculate.
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But a poll taken in the UK, for example, in August 2014,
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estimated that 1.2 million people
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had watched the beheading of James Foley
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in the few days after it was released.
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And that's just the first few days,
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and just Britain.
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A similar poll taken in the United States
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in November 2014
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found that nine percent of those surveyed
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had watched beheading videos,
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and a further 23 percent
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had watched the videos but had stopped just before the death was shown.
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Nine percent may be a small minority of all the people who could watch,
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but it's still a very large crowd.
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And of course that crowd is growing all the time,
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because every week, every month,
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more people will keep downloading and keep watching.
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If we go back 11 years,
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before sites like YouTube and Facebook were born,
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it was a similar story.
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When innocent civilians like Daniel Pearl,
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Nick Berg, Paul Johnson, were beheaded,
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those videos were shown during the Iraq War.
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Nick Berg's beheading
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quickly became one of the most searched for items on the Internet.
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Within a day, it was the top search term
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across search engines like Google, Lycos, Yahoo.
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In the week after Nick Berg's beheading,
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these were the top 10 search terms in the United States.
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The Berg beheading video remained the most popular search term for a week,
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and it was the second most popular search term for the whole month of May,
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runner-up only to "American Idol."
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The al-Qaeda-linked website that first showed Nick Berg's beheading
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had to close down within a couple of days due to overwhelming traffic to the site.
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One Dutch website owner said that his daily viewing figures
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rose from 300,000 to 750,000
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every time a beheading in Iraq was shown.
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He told reporters 18 months later
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that it had been downloaded many millions of times,
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and that's just one website.
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A similar pattern was seen again and again
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when videos of beheadings were released during the Iraq War.
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Social media sites have made these images more accessible than ever before,
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but if we take another step back in history,
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we'll see that it was the camera that first created a new kind of crowd
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in our history of beheadings as public spectacle.
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As soon as the camera appeared on the scene,
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a full lifetime ago on June 17, 1939,
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it had an immediate and unequivocal effect.
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That day, the first film of a public beheading was created in France.
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It was the execution, the guillotining, of a German serial killer, Eugen Weidmann,
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outside the prison Saint-Pierre in Versailles.
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Weidmann was due to be executed at the crack of dawn,
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as was customary at the time,
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but his executioner was new to the job,
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and he'd underestimated how long it would take him to prepare.
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So Weidmann was executed at 4:30 in the morning,
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by which time on a June morning,
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there was enough light to take photographs,
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and a spectator in the crowd filmed the event,
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unbeknownst to the authorities.
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Several still photographs were taken as well,
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and you can still watch the film online today
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and look at the photographs.
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The crowd on the day of Weidmann's execution
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was called "unruly" and "disgusting" by the press,
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but that was nothing compared to the untold thousands of people
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who could now study the action
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over and over again,
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freeze-framed in every detail.
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The camera may have made these scenes more accessible than ever before,
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but it's not just about the camera.
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If we take a bigger leap back in history,
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we'll see that for as long as there have been
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public judicial executions and beheadings,
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there have been the crowds to see them.
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In London, as late as the early 19th century,
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there might be four or five thousand people to see a standard hanging.
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There could be 40,000 or 50,000 to see a famous criminal killed.
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And a beheading, which was a rare event in England at the time,
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attracted even more.
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In May 1820,
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five men known as the Cato Street Conspirators
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were executed in London for plotting
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to assassinate members of the British government.
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They were hung and then decapitated.
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It was a gruesome scene.
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Each man's head was hacked off in turn and held up to the crowd.
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And 100,000 people,
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that's 10,000 more than can fit into Wembley Stadium,
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had turned out to watch.
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The streets were packed.
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People had rented out windows and rooftops.
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People had climbed onto carts and wagons in the street.
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People climbed lamp posts.
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People had been known to have died in the crush on popular execution days.
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Evidence suggests that throughout our history
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of public beheadings and public executions,
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the vast majority of the people who come to see
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are either enthusiastic or, at best, unmoved.
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Disgust has been comparatively rare,
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and even when people are disgusted and are horrified,
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it doesn't always stop them from coming out all the same to watch.
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Perhaps the most striking example
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of the human ability to watch a beheading and remain unmoved
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and even be disappointed
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was the introduction in France in 1792 of the guillotine,
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that famous decapitation machine.
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To us in the 21st century,
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the guillotine may seem like a monstrous contraption,
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but to the first crowds who saw it, it was actually a disappointment.
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They were used to seeing long, drawn-out, torturous executions on the scaffold,
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where people were mutilated and burned and pulled apart slowly.
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To them, watching the guillotine in action,
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it was so quick, there was nothing to see.
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The blade fell, the head fell into a basket, out of sight immediately,
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and they called out,
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"Give me back my gallows, give me back my wooden gallows."
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The end of torturous public judicial executions in Europe and America
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was partly to do with being more humane towards the criminal,
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but it was also partly because the crowd obstinately refused to behave
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in the way that they should.
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All too often, execution day
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was more like a carnival than a solemn ceremony.
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Today, a public judicial execution in Europe or America is unthinkable,
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but there are other scenarios that should make us cautious
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about thinking that things are different now
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and we don't behave like that anymore.
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Take, for example, the incidents of suicide baiting.
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This is when a crowd gathers
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to watch a person who has climbed to the top of a public building
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in order to kill themselves,
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and people in the crowd shout and jeer,
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"Get on with it! Go on and jump!"
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This is a well-recognized phenomenon.
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One paper in 1981 found that in 10 out of 21 threatened suicide attempts,
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there was incidents of suicide baiting and jeering from a crowd.
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And there have been incidents reported in the press this year.
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This was a very widely reported incident
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in Telford and Shropshire in March this year.
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And when it happens today,
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people take photographs and they take videos on their phones
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and they post those videos online.
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When it comes to brutal murderers who post their beheading videos,
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the Internet has created a new kind of crowd.
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Today, the action takes place in a distant time and place,
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which gives the viewer a sense of detachment from what's happening,
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a sense of separation.
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It's nothing to do with me.
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It's already happened.
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We are also offered an unprecedented sense of intimacy.
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Today, we are all offered front row seats.
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We can all watch in private, in our own time and space,
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and no one need ever know that we've clicked on the screen to watch.
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This sense of separation --
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from other people, from the event itself --
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seems to be key to understanding our ability to watch,
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and there are several ways
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in which the Internet creates a sense of detachment
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that seems to erode individual moral responsibility.
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Our activities online are often contrasted with real life,
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as though the things we do online are somehow less real.
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We feel less accountable for our actions
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when we interact online.
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There's a sense of anonymity, a sense of invisibility,
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so we feel less accountable for our behavior.
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The Internet also makes it far easier to stumble upon things inadvertently,
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things that we would usually avoid in everyday life.
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Today, a video can start playing before you even know what you're watching.
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Or you may be tempted to look at material that you wouldn't look at in everyday life
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or you wouldn't look at if you were with other people at the time.
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And when the action is pre-recorded
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and takes place in a distant time and space,
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watching seems like a passive activity.
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There's nothing I can do about it now.
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It's already happened.
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All these things make it easier as an Internet user
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for us to give in to our sense of curiosity about death,
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to push our personal boundaries,
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to test our sense of shock, to explore our sense of shock.
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But we're not passive when we watch.
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On the contrary, we're fulfilling the murderer's desire to be seen.
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When the victim of a decapitation is bound and defenseless,
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he or she essentially becomes a pawn in their killer's show.
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Unlike a trophy head that's taken in battle,
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that represents the luck and skill it takes to win a fight,
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when a beheading is staged,
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when it's essentially a piece of theater,
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the power comes from the reception the killer receives as he performs.
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In other words, watching is very much part of the event.
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The event no longer takes place in a single location
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at a certain point in time as it used to and as it may still appear to.
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Now the event is stretched out in time and place,
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and everyone who watches plays their part.
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We should stop watching,
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but we know we won't.
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History tells us we won't,
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and the killers know it too.
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Thank you.
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(Applause)
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Bruno Giussani: Thank you. Let me get this back. Thank you.
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Let's move here. While they install for the next performance,
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I want to ask you the question that probably many here have,
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which is how did you get interested in this topic?
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Frances Larson: I used to work at a museum
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called the Pitt Rivers Museum in Oxford,
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which was famous for its display of shrunken heads from South America.
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People used to say, "Oh, the shrunken head museum, the shrunken head museum!"
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And at the time, I was working on the history
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of scientific collections of skulls.
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I was working on the cranial collections,
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and it just struck me as ironic
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that here were people coming to see this gory, primitive, savage culture
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that they were almost fantasizing about and creating
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without really understanding what they were seeing,
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and all the while these vast -- I mean hundreds of thousands
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of skulls in our museums, all across Europe and the States --
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were kind of upholding this Enlightenment pursuit of scientific rationality.
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So I wanted to kind of twist it round and say, "Let's look at us."
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We're looking through the glass case at these shrunken heads.
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Let's look at our own history and our own cultural fascination with these things.
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BG: Thank you for sharing that.
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FL: Thank you.
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(Applause)
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