Brave new world feelies

"4 Huxley’s Feelies: Engineered Pleasure in Brave New World".
The Problem with Pleasure: Modernism and Its Discontents
, New York Chichester, West Sussex: Columbia University Press, 2013, pp. 130-161. https://doi.org/10.7312/fros15272-006

(2013). 4 Huxley’s Feelies: Engineered Pleasure in Brave New World. In
The Problem with Pleasure: Modernism and Its Discontents
(pp. 130-161). New York Chichester, West Sussex: Columbia University Press. https://doi.org/10.7312/fros15272-006

2013. 4 Huxley’s Feelies: Engineered Pleasure in Brave New World.
The Problem with Pleasure: Modernism and Its Discontents
. New York Chichester, West Sussex: Columbia University Press, pp. 130-161. https://doi.org/10.7312/fros15272-006

"4 Huxley’s Feelies: Engineered Pleasure in Brave New World" In
The Problem with Pleasure: Modernism and Its Discontents
, 130-161. New York Chichester, West Sussex: Columbia University Press, 2013. https://doi.org/10.7312/fros15272-006

4 Huxley’s Feelies: Engineered Pleasure in Brave New World. In:
The Problem with Pleasure: Modernism and Its Discontents
. New York Chichester, West Sussex: Columbia University Press; 2013. p.130-161. https://doi.org/10.7312/fr



Viewing with trepidation the surge of technological innovation under way in the 1930’s,  Aldous Huxley, in his book
Brave New World
, imagined a future world where a hedonistic society prioritized the “community, identity, and stability” enabled by technology over the individuality, freedom of determination, and morality of the past. Disgusted by the advent of the “talking picture” –  he wrote that after watching
The Jazz Singer
his “flesh crept” and that he “felt ashamed of himself for listening to such things” – Huxley predicted that in the future the favored form of entertainment would be an even viler (from his perspective) form of cinema – the “feeling picture.” Not only would audiences be able to experience the sights and sounds of a scene, but also its physical sensations: kisses, fur, or wind. He further anticipated that, given the licence of his imagined society, these films would lack substance, heroism, or fervor and instead focus on the obscene, the maudlin, and even the pornographic. In the intervening years since
Brave New World
was published, these “feelies&#
.

.