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Istanbul Double Frequency

In a recent article in The New Yorker, Andrew Marantz tells us a brief story that begins with Nick Lotz, who suffers from what is described as “The Truman Show Syndrome,” a delusion that is for everyone who has seen the film pretty selfexplanatory. It is the idea that everything that happens is somehow scripted and that the world and everything in it is in fact a stage-set. It means that one thinks one is part of a TV-show or film and that every interaction is an enactment in a plot centered on you rather than it being merely life. It is all, by some means, simply pretend. Nick Lotz was so convinced that his life took place in front of TV-broadcast cameras that he felt the need to make it entertaining for those he imagined were watching. He tried constantly to think entertaining thoughts, since they could hear it all; he tried to become a better performer by enrolling in acting classes and public-speaking courses and lost fifty pounds to look better on camera. The syndrome Lotz, and others, suffer from is in its way new but corresponds to other long-standing complexes such as that well-known delusion of grandeur, the Napoleon complex. But what makes the Truman Show Syndrome possible now, and not in early nineteenth century France — and which partially speaks for the emergence of this reality star delusion — is that there actually are thousands of cameras monitoring us constantly. Furthermore, the identities of those who keep an eye on us are largely left up to the imagination. We often only know them as “the authorities.” The project by Santiago Mostyn, Istanbul Double Frequency, began with Mostyn asking people he met in Istanbul to tell him about a significant place, a site important in their life’s narrative, which he consequently found and photographed. As Mostyn tells it: