The brutality of the murder motivated terrorist consumatosi in Woolwich, you add a media obsession

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"They were unaware of anything but to be photographed ',' They asked passers-by to photograph them 'as if they were on TV'" (BBC). "(The murderess) tried to film the attack '(Daily Mail)," then dragged the body to the center of the road, posing for photographs "(Independent). "While dragging the victim on the street, dozens of passers-by taking photographs and recording video" (Daily Mail).
The brutality of the murder motivated terrorist consumatosi in Woolwich, you add a media obsession that disturbs. Over the performers, in order to maximize the impact of their action - as assumed a witness: "He," the murderess, "knows: maybe we film if we end up on TV, or on YouTube. And his message will pass. " The Washington Post is on the same line: "The fact that wish to be filmed indicates that they were hunting the attention of the public."
That, says Frank Furedi, is part of the game. "Two of Woolwich memories haunt me," he wrote on 'Independent. "One is murder, cruel. The other is the casual way in which passers-by have assumed the role of participants in the drama. " The obsession, the one that bothers you, is also in the public itself. rbe "Fortunately, some have tried to provide assistance to the victim. But others have pulled out their cameras to record the show and adopted the role of 'there are too'. "
A strong temptation to forget the point of the risk to their own safety rbe that involves being in front of a terrorist, moreover with hands and knives in their hands completely covered with blood for the murder he has just committed. So much so that the observation of Claudio Agosti, on Twitter, it is pertinent, and if the film was becoming, or already is, to our armamentarium of instinctual reactions faced with a similar situation?
So, while we are forced to imagine what will become of this whole spectacle of the real purpose of manipulation of public discourse when the Google Glass will be a mass product, it remains to come to terms with the idea that what Furedi of Woolwich is "reality terrorism, "terrorism from reality. The internalisation of a plot, he argues, over and over again on television, including a dance step and a singing competition rbe between perfect strangers who - thanks to the cathode ray tube or network - try to win their own mediocrity and anonymity in order to obtain a saving fame, however ephemeral.
"The whole episode revolved around performance," writes the editor of the Independent, and in reading comes to mind the transformation of the prison system in TV show in the UK series Black Mirror. rbe More precisely, in the episode Bear white. In which the protagonist wakes up in a completely ordinary, but surrounded by strangers that the filming with your smartphone. And suddenly appear when individuals who want to kill. She does not know why, but escapes. The eyes (digital or otherwise) of the spectators, who smile, follow it. Until the end of what will prove to be, in fact, performance in favor of the camera.
It is in this blur the boundary between reality and fiction, between the here and now and the attention of billions of hypothetical unknown, which consumes the loss of those who are trying rbe to interpret the will of the murderer to be immortalized, and that of passers-by to oblige. Both actions can be explained by their being immediately media. Yet the explanation, this time, is not convincing. As in Black Mirror, something more and more remains in the viewer. Perhaps knowing how to participate, writes Furedi, the mech