We're constantly being told that popular culture is just mindless entertainment - but, as Steven Johnson shows in "Everything Bad is Good for You", it's actually making us more intelligent. Steven Johnson puts forward a radical alternative to the endless complaints about reality TV, throwaway movies and violent video games. He shows that mass culture - "The Simpsons", "Desperate Housewives", "The Apprentice", "The Sopranos", "Grand Theft Auto" - is actually more sophisticated and challenging than ever before. When we focus on what our minds have to do to process its complex, multilayered messages, it becomes clear that it's not dumbing us down - but smartening us up. "As witty as "Seinfeld" and as wise as "ER"". ("New Statesman"). "Wonderfully entertaining". (Malcolm Gladwell). "A vital, lucid exploration of the contemporary mediascape". ("Time Out"). "A guru for Generation Xbox". ("Financial Times"). "A must-read". (Mark Thompson, former Director-General of the BBC). Steven Johnson is the bestselling author of "Mind Wide Open", "Where Good Ideas Come From", and "Emergence: The Connected Lives Of Ants, Brains, Cities and Software", named as one of the best books of 2001 by "Esquire", "The Village Voice", Amazon.com, and "Discover Magazine", and a finalist for the Helen Bernstein Award for Excellence in Journalism.
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Book Description
Editorial Reviews
Amazon.com Review
In his fourth book, Everything Bad Is Good for You, iconoclastic science writer Steven Johnson (who used himself as a test subject for the latest neurological technology in his last book, Mind Wide Open) takes on one of the most widely held preconceptions of the postmodern world--the belief that video games, television shows, and other forms of popular entertainment are detrimental to Americans' cognitive and moral development. Everything Good builds a case to the contrary that is engaging, thorough, and ultimately convincing.
The heart of Johnson's argument is something called the Sleeper Curve--a universe of popular entertainment that trends, intellectually speaking, ever upward, so that today's pop-culture consumer has to do more "cognitive work"--making snap decisions and coming up with long-term strategies in role-playing video games, for example, or mastering new virtual environments on the Internet-- than ever before. Johnson makes a compelling case that even today's least nutritional TV junk food–the Joe Millionaires and Survivors so commonly derided as evidence of America's cultural decline--is more complex and stimulating, in terms of plot complexity and the amount of external information viewers need to understand them, than the Love Boats and I Love Lucys that preceded it. When it comes to television, even (perhaps especially) crappy television, Johnson argues, "the content is less interesting than the cognitive work the show elicits from your mind."
Johnson's work has been controversial, as befits a writer willing to challenge wisdom so conventional it has ossified into accepted truth. But even the most skeptical readers should be captivated by the intriguing questions Johnson raises, whether or not they choose to accept his answers. --Erica C. Barnett
--This text refers to an alternate
Hardcover
edition.
From Publishers Weekly
Worried about how much time your children spend playing video games? Don't be, advises Johnson—not only are they learning valuable problem-solving skills, they'd probably do better on an IQ test than you or your parents could at their age. Go ahead and let them watch more television, too, since even reality shows can function as "elaborately staged group psychology experiments" to stimulate rather than pacify the brain. With the same winning combination of personal revelation and friendly scientific explanation he displayed in last year's Mind Wide Open, Johnson shatters the conventional wisdom about pop culture as pabulum, showing how video games, television shows and movies have become increasingly complex. Furthermore, he says, consumers are drawn specifically to those products that require the most mental engagement, from small children who can't get enough of their favorite Disney DVDs to adults who find new layers of meaning with each repeated viewing of Seinfeld. Johnson lays out a strong case that what we do for fun is just as educational in its way as what we study in the classroom (although it's still worthwhile to encourage good reading habits, too). There's an important message here for every parent—one they should hear from the source before savvy kids (especially teens) try to take advantage of it. Agent, Lydia Wills at Paradigm. (May)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to an alternate Hardcover edition.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to an alternate Hardcover edition.
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More About the Author
Questions from Readers for Steven Johnson
Q
Steven, you've often written about the ways in which a city's density enables great ideas to flourish. You've applied the same metaphor to the web as a engine of creativity and innovation. What about book-reading? Do see our natural inclinations...
Ryan T. Meehan
asked
Aug 30, 2011
Well, my first response is that the book, in its traditional form, has been as much of an idea generator as the Web or the city over the centuries. In part that was because it had been the best mechanism for storing and sharing information, before computers and networks came along. But also because the linear format of the book -- and the word count of most books -- allowed more complex and important arguments or observations to be presented. So I would hope we can preserve some of that linearity and that length in the digital age. But in general, I am exhilarated by all the new possibilities of the networked book. I wrote an essay for the WSJ journal a few years ago -- inspired actually by the Kindle I had just bought -- about where I thought the book was heading. Here's the link: http://online.wsj.com/article/SB123980920727621353.html
Steven Johnson answered
Aug 31, 2011
Customer Reviews
Most Helpful Customer Reviews
117 of 127 people found the following review helpful
Format:Hardcover
Johnson highlights the ways in which some pop-culture is in fact more intellectually demanding than that of the past. He points to TV programs such as Hill Street Blues, The Sopranos, Seinfeld, and The Simpsons, with their continuous stories, multiple plot threads, and their references to other pop-culture. He also wrote a great deal highlighting the depth and intricacy of many computer games.
I could quibble on a few points. I think he gives cinema a little too much credit, basing his argument there primarily on a few intelligent films whose box office success ranged from weak to moderate. Strangely absent from Johnson's discussion is popular music, with no disclaimer nor any word of explanation for this. Since music is obviously a vast part of the pop culture landscape, its exclusion scores as a major omission.
But these caveats aside, I found that on the whole Johnson presented a very convincing case that a significant part of pop culture is in fact getting smarter. But regarding his premise that people are getting smarter as a result, that's where he got it very wrong.
For direct corroboration, the only hard statistic Johnson cites is the fact that IQ scores have been rising about 3 points per decade. By his own admission, they have been rising steadily at that rate for the last 70 years or so. Yet he perceives the smartening of pop culture as having started in 1981 (with the premiere of Hill Street Blues). So it seems a bit tenuous to claim the two phenomena are related.
Furthermore, IQ scores only measure a narrow range of intellectual abilities. What they measure is a rather mechanical, almost mathematical, sort of logical ability. They say very little about the more grey and nonlinear intelligence needed to comprehend, for example, literature or political science or comparative religion.
Aside from IQ score data, Johnson builds his case on anecdotal evidence, which in my view is easily refutable by other anecdotal evidence. Johnson presumes that since young people are the ones who soak up the most current pop culture, much can be gleaned from observing them.
That's a sensible rationale, so let's use it. Go into a fast food restaurant where young people work. See how many of them can make the correct change when the computerized cash register fails to work. Count how many teens you can find that can explain anything at length without stammering and peppering their sentences with like's and you-know's. And how long can a typical teen even watch TV without channel surfing?
Johnson acknowledges the studies that expose how embarrassingly little knowledge American students have of, for example, historical literacy. He claims that content is only secondarily important, that young people's skill at video games, computers, and general multi-tasking are skills that easily transfer to other sorts of tasks.
To some extent I would agree. But when significant percentages of young people can't even place the Civil War in the correct century, nor can they give a general description of what the Bill of Rights says, something fundamental and deep is lost. It's a bit simplistic to think that computer game agility is a skill that easily "transfers over" into a grasp of the subtleties of the philosophy of government. There are some intellectual capacities that can only be gained by studying certain things.
He also ignores the fact that these American young people seem to exhibit these skills primarily when something is lighting up, moving, and making noises. What about being able to study and learn when you don't know that there will be a definite reward, as there always is with a computer game? It's quite telling how rarely young people are willing to sit for an extended period of time in a quiet room with only paper and books and no electronic media.
The fact is, students in Russia and some European countries have consistently outscored US students on all sorts of scholastic tests. And they watch TV and play computer games less in those countries.
Johnson mentioned how every household today has a running joke about how the 9-year-old is the only one in the family who can set the VCR clock or figure out how to work the remote. True enough. But that could be for the same reason that any adult found it easier to learn music or a foreign language when they were children. That was always been true long before there was an electronic pop culture. Some skills by their nature are simply easier to learn the younger you start.
Though Johnson misses the point much of the time, I give him credit for attempting to answer a number of devil's advocate counter-arguments. He also writes in a plainspoken and engrossing style. Along the way in making his case, he gives some very readable exposition about other factual matters, such as IQ scores and the Flynn effect. However much or however little you'll agree with him, it's a captivating and enjoyable read.
I could quibble on a few points. I think he gives cinema a little too much credit, basing his argument there primarily on a few intelligent films whose box office success ranged from weak to moderate. Strangely absent from Johnson's discussion is popular music, with no disclaimer nor any word of explanation for this. Since music is obviously a vast part of the pop culture landscape, its exclusion scores as a major omission.
But these caveats aside, I found that on the whole Johnson presented a very convincing case that a significant part of pop culture is in fact getting smarter. But regarding his premise that people are getting smarter as a result, that's where he got it very wrong.
For direct corroboration, the only hard statistic Johnson cites is the fact that IQ scores have been rising about 3 points per decade. By his own admission, they have been rising steadily at that rate for the last 70 years or so. Yet he perceives the smartening of pop culture as having started in 1981 (with the premiere of Hill Street Blues). So it seems a bit tenuous to claim the two phenomena are related.
Furthermore, IQ scores only measure a narrow range of intellectual abilities. What they measure is a rather mechanical, almost mathematical, sort of logical ability. They say very little about the more grey and nonlinear intelligence needed to comprehend, for example, literature or political science or comparative religion.
Aside from IQ score data, Johnson builds his case on anecdotal evidence, which in my view is easily refutable by other anecdotal evidence. Johnson presumes that since young people are the ones who soak up the most current pop culture, much can be gleaned from observing them.
That's a sensible rationale, so let's use it. Go into a fast food restaurant where young people work. See how many of them can make the correct change when the computerized cash register fails to work. Count how many teens you can find that can explain anything at length without stammering and peppering their sentences with like's and you-know's. And how long can a typical teen even watch TV without channel surfing?
Johnson acknowledges the studies that expose how embarrassingly little knowledge American students have of, for example, historical literacy. He claims that content is only secondarily important, that young people's skill at video games, computers, and general multi-tasking are skills that easily transfer to other sorts of tasks.
To some extent I would agree. But when significant percentages of young people can't even place the Civil War in the correct century, nor can they give a general description of what the Bill of Rights says, something fundamental and deep is lost. It's a bit simplistic to think that computer game agility is a skill that easily "transfers over" into a grasp of the subtleties of the philosophy of government. There are some intellectual capacities that can only be gained by studying certain things.
He also ignores the fact that these American young people seem to exhibit these skills primarily when something is lighting up, moving, and making noises. What about being able to study and learn when you don't know that there will be a definite reward, as there always is with a computer game? It's quite telling how rarely young people are willing to sit for an extended period of time in a quiet room with only paper and books and no electronic media.
The fact is, students in Russia and some European countries have consistently outscored US students on all sorts of scholastic tests. And they watch TV and play computer games less in those countries.
Johnson mentioned how every household today has a running joke about how the 9-year-old is the only one in the family who can set the VCR clock or figure out how to work the remote. True enough. But that could be for the same reason that any adult found it easier to learn music or a foreign language when they were children. That was always been true long before there was an electronic pop culture. Some skills by their nature are simply easier to learn the younger you start.
Though Johnson misses the point much of the time, I give him credit for attempting to answer a number of devil's advocate counter-arguments. He also writes in a plainspoken and engrossing style. Along the way in making his case, he gives some very readable exposition about other factual matters, such as IQ scores and the Flynn effect. However much or however little you'll agree with him, it's a captivating and enjoyable read.
14 of 14 people found the following review helpful
Format:Hardcover
Steven Johnson's newest book, "Everything Bad Is Good For You" makes the controversial claim that popular culture engages us in a kind of mental calisthenics, resulting in the drastic changes in IQ distribution seen in the last 50 years. He describes beneficial effects of changes in popular culture - changes that have often been decried as hallmarks of societal demise - and shows how these new forms of media exploit our natural reward circuitry. Echoing Marshall McLuhan, Johnson says it's not so much the content (or 'message') of cultural media like Grand Theft Auto and The Sopranos, but the multi-threaded, interactive style of delivery (the 'medium') that engages us in a cognitive workout, and ultimately results in the drastic IQ increases of post-World War II America.
Johnson begins his book with a vitriolic quote from George Will: "Ours is an age besotted with graphic entertainments. And in an increasingly infantilized society, whose moral philosophy is reducible to a celebration of 'choice,' adults are decreasingly distinguishable from children in their absorption in entertainments and the kinds of entertainments they are absorbed in - video games, computer games, hand-held games, movies on their computers and so on. This is progress: more sophisticated delivery of stupidity." This quote characterizes the dominant perspective on popular culture. But contrary to intuition, Johnson argues, today's most popular entertainment is enormously complex according to several different metrics, such as number of concurrent plot lines, the interdependence or 'nesting' of those plot lines, the Kolmogorov complexity of the networks relating the characters, and the kind of thinking required to make sense of all this complexity. And what's more, popular media has been trending towards increased complexity for the past half-century.
The economics driving these developments relate to a shift from "least objectionable" programming into "most repeatable" programming, rewarding those games/movies/narratives that embrace ambiguity, those that require the entertained to take a more active and exploratory role in comprehension, and those that reward the inquisitively entertained with yet more ambiguity to resolve upon the next viewing. This neuroeconomic "device" is perfectly designed to hijack the pleasure system by establishing an expectation of reward. It is precisely this type of cognition which has been shown to modulate dopamine levels in the nucleus accumbens, providing the fix craved by pack-a-day smokers, ice-cream fanatics, and gambling addicts alike.
And while the violence illustrated in games like Grand Theft Auto may seem to provide the cognitive nutrition equivalent to gambling, Johnson emphasizes (to use McLuhan's phrase) that the "medium is the message." It is not the content so much as the method of delivery that determines its most important effects: that of rewarding critical thinking and emphasizing interactivity, whether purely cognitive (as in complex narratives) or integrating motor skills as well (as in games). Whatever the detrimental effects of prime-time depravity might be, the positive effect of this new interactive media trend takes the form of "the Sleeper Curve": a 3-point increase in average IQ per year for each of the past 100 years. To put this change in perspective, consider this: a person placing in the 90th percentile of IQ in 1920 would place in the bottom third of a IQ test in 2000.
"Everything Bad Is Good For You" is an incredibly provocative piece of cultural criticism, and while light on experimental evidence for causal relationships between IQ increases and changes in popular culture, it more than makes up for that shortcoming by illuminating ways in which this evidence might be attained. The book's best moments call to mind the optimism of the early 90s for engineering an interactive techno-topia, but these moments are thankfully tempered with a rigorously historical perspective and a firm grounding in relevant neuroscience. The book should be required reading for anyone with even a passing interest in communication theory, and is highly recommended for those with an interest in integrating neuroscientific principles with entertainment and education.
Johnson begins his book with a vitriolic quote from George Will: "Ours is an age besotted with graphic entertainments. And in an increasingly infantilized society, whose moral philosophy is reducible to a celebration of 'choice,' adults are decreasingly distinguishable from children in their absorption in entertainments and the kinds of entertainments they are absorbed in - video games, computer games, hand-held games, movies on their computers and so on. This is progress: more sophisticated delivery of stupidity." This quote characterizes the dominant perspective on popular culture. But contrary to intuition, Johnson argues, today's most popular entertainment is enormously complex according to several different metrics, such as number of concurrent plot lines, the interdependence or 'nesting' of those plot lines, the Kolmogorov complexity of the networks relating the characters, and the kind of thinking required to make sense of all this complexity. And what's more, popular media has been trending towards increased complexity for the past half-century.
The economics driving these developments relate to a shift from "least objectionable" programming into "most repeatable" programming, rewarding those games/movies/narratives that embrace ambiguity, those that require the entertained to take a more active and exploratory role in comprehension, and those that reward the inquisitively entertained with yet more ambiguity to resolve upon the next viewing. This neuroeconomic "device" is perfectly designed to hijack the pleasure system by establishing an expectation of reward. It is precisely this type of cognition which has been shown to modulate dopamine levels in the nucleus accumbens, providing the fix craved by pack-a-day smokers, ice-cream fanatics, and gambling addicts alike.
And while the violence illustrated in games like Grand Theft Auto may seem to provide the cognitive nutrition equivalent to gambling, Johnson emphasizes (to use McLuhan's phrase) that the "medium is the message." It is not the content so much as the method of delivery that determines its most important effects: that of rewarding critical thinking and emphasizing interactivity, whether purely cognitive (as in complex narratives) or integrating motor skills as well (as in games). Whatever the detrimental effects of prime-time depravity might be, the positive effect of this new interactive media trend takes the form of "the Sleeper Curve": a 3-point increase in average IQ per year for each of the past 100 years. To put this change in perspective, consider this: a person placing in the 90th percentile of IQ in 1920 would place in the bottom third of a IQ test in 2000.
"Everything Bad Is Good For You" is an incredibly provocative piece of cultural criticism, and while light on experimental evidence for causal relationships between IQ increases and changes in popular culture, it more than makes up for that shortcoming by illuminating ways in which this evidence might be attained. The book's best moments call to mind the optimism of the early 90s for engineering an interactive techno-topia, but these moments are thankfully tempered with a rigorously historical perspective and a firm grounding in relevant neuroscience. The book should be required reading for anyone with even a passing interest in communication theory, and is highly recommended for those with an interest in integrating neuroscientific principles with entertainment and education.
110 of 136 people found the following review helpful
Format:Hardcover
Very good book, written from the perspective of a teenaged gamer made good.
Johnson played games as a kid, baseball strategy games, as well as Dungeons and Dragons, and one can detect a certain bias in his outlook. However, his statistical references and footnotes make this book a scholarly look at popular culture - in particular movies, TV and videogames - and is a nice refutation of the "our culture is going into the toilet" crowd.
Johnson argues - to me, convincingly - that even though modern mass market entertainment may appear "dumbed down", it really isn't, and that at a basic physical level, our brains are being made to work harder, get more exercise if you will, and develop higher cognitive functions as a result.
A very complex book written in easy to read language with convincing data to back up the arguments - disguised in a very palatable dialogue that doesn't seem like science at all. He even takes Marshall McLuhan to task on at least one of his conclusions - very daring, and in this case, pays off.
Johnson does miss out on one or two things - the ascendance of message boards is glossed over, or perhaps incorporated into "Internet" "email" and "IMs" in the discussion of why males watch about 1/5 as much TV as they did as little as five years ago.
As a fellow who grew up playing Advanced Squad Leader (arguably a set of rules even more dense than AD&D), I could relate to his argument that kids will learn horribly complex procedures in the name of fun (as he did with his baseball games and D&D sets) and may very well be better for it.
Overall, even if one disagrees with Johnson's arguments or conclusions, the book is fun to read; brings back memories for those who grew up in the 70s and 80s, presents logical arguments, well constructed, easy to understand, and supported by corroborating evidence - including scientific testimony about how the physical (hi Shannon) human brain works. Would love to read a rebuttal, though Johnson has personally sold me over hook, line and sinker. If nothing else, a comforting book amidst doom and gloom prophesies about the fate of our intellect in the hands of TV producers. Well done, Mr. Johnson.
Johnson played games as a kid, baseball strategy games, as well as Dungeons and Dragons, and one can detect a certain bias in his outlook. However, his statistical references and footnotes make this book a scholarly look at popular culture - in particular movies, TV and videogames - and is a nice refutation of the "our culture is going into the toilet" crowd.
Johnson argues - to me, convincingly - that even though modern mass market entertainment may appear "dumbed down", it really isn't, and that at a basic physical level, our brains are being made to work harder, get more exercise if you will, and develop higher cognitive functions as a result.
A very complex book written in easy to read language with convincing data to back up the arguments - disguised in a very palatable dialogue that doesn't seem like science at all. He even takes Marshall McLuhan to task on at least one of his conclusions - very daring, and in this case, pays off.
Johnson does miss out on one or two things - the ascendance of message boards is glossed over, or perhaps incorporated into "Internet" "email" and "IMs" in the discussion of why males watch about 1/5 as much TV as they did as little as five years ago.
As a fellow who grew up playing Advanced Squad Leader (arguably a set of rules even more dense than AD&D), I could relate to his argument that kids will learn horribly complex procedures in the name of fun (as he did with his baseball games and D&D sets) and may very well be better for it.
Overall, even if one disagrees with Johnson's arguments or conclusions, the book is fun to read; brings back memories for those who grew up in the 70s and 80s, presents logical arguments, well constructed, easy to understand, and supported by corroborating evidence - including scientific testimony about how the physical (hi Shannon) human brain works. Would love to read a rebuttal, though Johnson has personally sold me over hook, line and sinker. If nothing else, a comforting book amidst doom and gloom prophesies about the fate of our intellect in the hands of TV producers. Well done, Mr. Johnson.
Most Recent Customer Reviews
4.0 out of 5 stars
Academia turned mainstream.
I originally purchased this book for a university course, and ended up keeping it for my permanent collection. Read more
Published 3 months ago by maryfic
2.0 out of 5 stars
EBIGFY review
he did a good job explaining the complexity of popular culture but did not provide enough evidence to why it is making us smarter
Published 3 months ago by Karen Pavilando
3.0 out of 5 stars
At once sort of true and totally missing the point
We should be thankful that this book exists. Just look at the discussion it prompted on this page.
But to be thankful is not to agree. Read more
But to be thankful is not to agree. Read more
Published 7 months ago by J.L.
5.0 out of 5 stars
Awesome
Did not know that I was ordering the hard-cover. Even so, I was ecstatic at the price of the book when I ordered. Very reasonable. Read more
Published 10 months ago by Mathew T. Jordan
3.0 out of 5 stars
Pop Culture
Steve Johnson brings upon the argument in this book that modern pop culture is vital to today's society. Read more
Published 16 months ago by Aleksandra16
4.0 out of 5 stars
Enjoyable and convincing but biased
Steven Johnson's Everything Bad is Good for You is a well-constructed and convincing argument against the widespread belief that today's pop culture is garbage. Read more
Published 16 months ago by Anonymous
2.0 out of 5 stars
A Rant
Stephen Johnson is a master of language, no doubt about that. But the book is monotonous, it blatantly rejects all of the well established norms and practices. Read more
Published 16 months ago by chicagos finest
3.0 out of 5 stars
A Christian perspective: interesting, but unconvincing
In this book, Johnson attacks the widely-held belief that popular culture is negative and destructive by positing its opposite: that consumption of current video games, movies, and... Read more
Published 20 months ago by David
1.0 out of 5 stars
Full of Logical Fallacies
In Everything Bad is Good for You, Steven Johnson states that popular culture, which has grown more complex in recent years, is sharpening the minds of today. Read more
Published 21 months ago by jacobhu12
4.0 out of 5 stars
Great Addition to the Culture War
Much of the thrill of this book is the refutation of years of snobbery that asserts that American culture in general and pop culture in particular is by definiton vulgar, stupid... Read more
Published 24 months ago by Ricky Pooski
