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The Green Bench

The Social Gaze: On Watching and Being Watched

“Today everything exists to end in a photograph.”

 – Susan Sontag, On Photography

Sontag’s remarks were deemed controversial in the late 70s. In the digital age of image saturation, however, she’s the disseminator of the gospel truth. Everything today from our casual interests, beliefs, interactions across mediums, and even our personality – exists to end up in a 1080 x 1080 pixel and 4:5 aspect ratio photograph, nestled in a thoughtfully curated grid – for the feasting eyes of the other.

The malleability provided by social media platforms to alter our identities has been a matter of discourse since its inception. Our online personas have never existed in a vacuum. As social creatures, we’re in constant anticipation of the outsider’s gaze, in both awe and fear. The inherent need to be seen is always accompanied by the fearful clasp of judgment tight around its neck. The human herd instinct to seek approval makes most of our behaviour in social settings performative. From the clothes we wear and the movies we watch to the opinions we hold more often than not arise from the need to achieve a sense of belonging – the one slated third in Maslow’s hierarchy of human needs[1].

While the performances persist, it’s only human to slip up at times.
Entrée the power of social media.
Social media platforms like Instagram, Snapchat and X (formerly Twitter) allow us to not only create a production out of our existence but up the ante as well – we get to control who views our performance, along with the parts they get to see.

Here’s a thought experiment. Imagine you’re (doom)scrolling through Instagram when you come across a post by a conventionally attractive, white woman. She’s seated in an outdoor cafe. The sunbeams bounce perfectly off of her black sunglasses. Her profile faces the camera as she peers into her phone’s screen, carefully reapplying her lipstick.

Seems cool enough right? What if you zoom in just a bit?

Those sunglasses are the coveted Tom Fords in Whitney, and her lipstick is the classic Rouge Dior. What else, the bottom half of the picture seems to cut off a pack of Marlboro Lights and what appears to be an incredibly expensive lighter!

There’s at least a fifty per cent chance that you’ll believe you’ve stumbled across the feed of an heiress out to lunch in Italy. Such is the power of branding. The mere association with brands established as luxurious converts a simple photograph into an identity definer, as Professor Nita Mathur notes, “commercial brands and luxury commodities have come to serve as signifiers of identity in society”[2], allowing individuals to construct, deconstruct or reconstruct their social identities.

References

https://psychclassics.yorku.ca/Maslow/motivation.htm
https://sk.sagepub.com/books/consumer-culture-modernity-and-identity
https://www.youtube.com/watch?v=14JGQ1JWSgc&t=632s
https://www.forbes.com/sites/forbescommunicationscouncil/2023/01/26/why-and-how-to-implement-social-media-branding/?sh=3c975389793b
https://internetprincess.substack.com/p/standing-on-the-shoulders-of-complex
https://academic.oup.com/jcr/article-abstract/32/1/171/1796334?redirectedFrom=fulltext
https://www.wired.com/story/business-gen-z-social-media/
https://creative.salon/articles/features/is-social-media-over-for-the-younger-generation
https://www.smh.com.au/lifestyle/life-and-relationships/new-nihilism-how-gen-z-is-embracing-a-life-of-futility-and-meaninglessness-20231016-p5ecra.html
https://www.businessoffashion.com/reports/news-analysis/the-state-of-fashion-2024-report-bof-mckinsey/

Appears in —

Kai

Kai is a student of literature and a fan of stories in all forms. Currently fidgeting behind a camera lens, she’s always struggling with thinking too much and not writing enough.

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I’m here for the funeral of the green bench. The green bench who used to sit by the Hooghly. To someone who has never struck up an affair with this side of my city, she must mean nothing; just another generic green bench amongst a sea of green benches by a river flowing through the plains of Bengal.

Picture it: two branches carved out of wood. Sounds paradoxical, doesn’t it? Yet there is not much the universe offers without lyrical riddles inscribed in all things, dead or alive. What is so unsullied about all things alive anyway? Once, they were all dead. And funerals are but rituals to reawaken them.

Four planks in twos, sandpapered at the edges and the corners. They sit, nailed to the wide-mouthed two-legged and bent over Y’s — the branches carved out of wood. Two planks to sit on, two planks to lean on. Then the woodworker emptied a bucket of green, the fern kind, on her — the green bench — and other green benches; sisters in design.

I was twice bitten in her bosom: once by a fire ant; once by love. Others have stories too — friendships made, lovers betrayed; moneys earned, lessons learned. All because the green bench sat in a banyan shade and bestowed upon her tribe the crème de la crème riverscape. I wonder if her sisters were ever jealous, wasting away as options. Nobody likes being an option. Not us, not green benches.

She will be replaced by one just like her. But the new green bench won’t have the chipped paint from time’s reign, the scritch-scratch from squirrel nails, and the initials of fools etched into her framework. She will be a green bench, but she won’t be the green bench; not without the banyan shade lifting her to glory.

Banyan shade from the banyan tree: home to squirrels with trust issues, perennially angry mynas, and smelly fruit bats. It is almost poetic; the green bench being delivered to death by the very banyan tree that protected her from the wrath of the summer sun and the curse of the monsoon rain.

Unintentional, of course. One can tell by the twisted leaf stems and the tiny splintered branches that he fought. He fought the savage cyclone with all his might. He fought like a warrior. But sometimes warriors do not survive rakshasas. Sometimes, he uproots and crashes into the princess he swore to protect. And they reunite on the other side.

This funeral isn’t the traditional kind with tuberose garlands and sandalwood incense sticks. There are no teary friends, no scurrying for priests, no fragments of gold, and no slathering of ghee. It is mostly rumbling wood chippers and caterwauling chainsaws amidst the crisp scent of tree sap. And perhaps, a few wistful goodbyes from the other green benches.

Appears in —

Tejaswinee Roychowdhury

Tejaswinee Roychowdhury is an Indian writer and lawyer. Her words are published/forthcoming in Roi Fainéant Press, Gutslut Press, Bullshit Lit, Storyteller’s Refrain, The Birdseed, Third Lane, Kitaab, Borderless Journal, Active Muse, Funny Pearls, and elsewhere. She has also been featured and interviewed in Issue 2 of Alphabet Box.

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