Baroness Susan Greenfield "told the House of Lords that children's experiences on social networking sites 'are devoid of cohesive narrative and long-term significance. As a consequence, the mid-21st century mind might almost be infantilised, characterised by short attention spans, sensationalism, inability to empathise and a shaky sense of identity'.
Arguing that social network sites are putting attention span in jeopardy, she said: 'If the young brain is exposed from the outset to a world of fast action and reaction, of instant new screen images flashing up with the press of a key, such rapid interchange might accustom the brain to operate over such timescales. Perhaps when in the real world such responses are not immediately forthcoming, we will see such behaviours and call them attention-deficit disorder. ...
She also warned against 'a much more marked preference for the here-and-now, where the immediacy of an experience trumps any regard for the consequences. After all, whenever you play a computer game, you can always just play it again; everything you do is reversible. The emphasis is on the thrill of the moment, the buzz of rescuing the princess in the game. No care is given for the princess herself, for the content or for any long-term significance, because there is none."
(Patrick Wintour, political editor guardian.co.uk, 24 February 2009)
2) Leading neuroscientist Lady Greenfield on the impact of spending hours in front of the computer and what makes a friend.
"The Meisner acting technique is a many layered approach that relies heavily on a practice known as emotional preparation. Named after Sanford Meisner, the Meisner technique began as a systematic study of the art of acting for theatre. Based on work done by Russian actor Constantine Stanislovski, Meisner created a hybrid technique that he felt was better suited to the American actor and American theatre. ...
Actors using the Meisner acting technique have the ability to immerse themselves in an emotional 'state' of the character before going onstage. Rather than pretending extreme frustration they must ARE extremely frustrated as they enter the scene. Furthermore, Meisner believed that any actor looking to exploit the Meisner acting technique does their homework by creating and developing a complete set of circumstances and a complete emotional landscape that is in tune with the deeper cravings, needs and emotions that have caused the character to be frustrated."
(Maggie Flanigan Studio)