Skip to main content

Don't Stop and Stare

Walking down a busy London high street yesterday I noticed a small crowd forming beside a pedestrian crossing that didn't appear to move when the lights changed and the traffic gave way.  A sad scene was revealed, a lady was lying motionless on the pavement, surrounded by an army of onlookers.  Strangers behaving strangely, I thought. 

What is it about an accident that causes us to stop and stare?  What is that compulsion we feel, to find out what's happened, whilst contributing nothing to what might happen next? 

In America, the term 'rubbernecking' has been coined to describe motorists who slow down as they pass the scene of a recent road traffic accident to observe its aftermath. 


It is part of human nature to become curious at the sight of something extreme or unusual, which explains some aspects of rubbernecking.  Tourists viewing the sites of a large city for the first time often spend most of their time rubbernecking, because they are completely overwhelmed by the new and unusual sights around them.  But need we gawk with morbid curiosity at the scene of an accident, helping no one and possibly causing a nuisance by our untimely and ultimately narcissistic presence?  Need we indulge our own meanderings about mortality whilst depriving potentially another of their dignity?  Are there more respectful ways in which we might witness another's experience?


Yesterday, on my way out to an engagement I had been looking forward to all day, I was prompted to think of that woman, whom I have never met and am unlikely to encounter again, and to wonder what did happen to her.  I hope an ambulance arrived on the scene quickly, to relieve the one individual who had actively come to her assistance and whom I saw administering first aid. 

Somebody's daughter, maybe someone's sister, wife, partner or mother.  Each of my thoughts interesting and valid, prompting consideration of our essential vulnerability and fragility, but better engaged with having crossed the road and continued minding my own business. 


Comments

Popular posts from this blog

Table. Apple. Penny.

Whilst there were several places I might have been that morning, I wouldn't have been anywhere else.  The practitioner from the Memory Service arrived promptly.  I liked her instantly.    Mum was nervous.  I think I was a little, too.  It's been a difficult year.   "It's Friday, it's the fourteenth of December and I'm at home..."   No problems there.  CAMCOG, or the Cambridge Cognitive Examination is a thorough assessment tool used to assess the extent of extent of dementia, and to assess the level of cognitive impairment.  The standardised  measure assesses orientation, language, memory, praxis, attention, abstract thinking, perception and calculation.    "Table.  Apple.  Penny."   Three everyday items that were introduced at one point, and then referred to again later on.  Again, Mum was able to recall each.      I am reminded that the...

Glass half full? Glass half empty? Or perhaps the glass is broken

I am, constitutionally, a glass half empty gal.  I will always first acknowledge what I don't have, what I have lost, and what it is that I am seeking.  I tend to overlook my strengths, concentrating only on those bits of me that are underdeveloped or weak.  I refer to myself as a realist, but in doing so compliment myself and insult those who genuinely are simply realistic.  My modus operandi is to identify what's not working and acknowledge this before seeing more clearly what functions perfectly well.  This has its place: I edit others' written work pretty well.  My fastidious attention to detail serves me, and the author.  Accuracy counts, for me and I have an excellent memory.  I can remember a great many of my sessions with clients verbatim.  Even this asset is something I can, and do, diminish the true value of, by concentrating on 'I should have said...' or 'why didn't....  occur to me during the session?' Earlier this we...

Joan Miro: Emotional Art

"Painting and poetry are like love; an exchange of blood, a passionate embrace, without restraint, without defence.  The picture is born of an overflow of emotions and feelings." Miro, The Farm 'La Masia' (1921-22) I learnt a great deal about Miro on a recent visit to the Tate.  I learnt a great deal about a lot more too. Miro wanted to discover the sources of human feeling.  He described his method of creating poetry by way of painting, using a vocabulary of signs and symbols, metaphors and dream images to express definite themes he believed to be fundamental to human existence.  The exhibition displays his sense of humor and lively wit.  His chief concern was a social one; he wanted to get close to the great masses of humanity, and he was convinced that art can only truly appeal when it resonates with roots of lived experience.  "Wherever you are, you find the sun, a blade of grass, the spirals of the dragonfly.  Courage cons...