Influence is a challenge to sovereignty, both political and personal; to admit to being influenced is to give up the attractive idea that, as individuals or societies, we are entirely self-contained.
Ralphie Waplington as Britain’s “youngest social media ‘influencer.’ ” Ralphie, who is two, has twenty thousand Instagram followers. For most of his life, he has been an unknowing model of baby clothes and other infant paraphernalia. His parents photograph him according to briefs they receive from commercial partners; members of his extended family must seek approval before posting their own photos of Ralphie, lest an off-message picture harm his brand.
The elusive quality of influence—the difficulty we encounter when we try to identify its sources or measure its effects—is equally destabilizing. Influence works best when it’s wielded obscurely, in the shadows and behind the scenes, and this has clear social consequences for a society engaged in building a digital-influence economy. Based on the available evidence, it seems that we can’t construct an influence economy without stoking a culture of skepticism and paranoia.
In Shakespeare, being influenced is linked to a kind of irrational servility. Oscar Wilde’s “The Picture of Dorian Gray,” from 1890, takes an even more alarming view. The novel’s irresponsible influencer, Lord Henry, who convinces Dorian of many “wrong, fascinating, poisonous, delightful theories,” also admits that “all influence is immoral. . . . To influence a person is to give him one’s own soul. He does not think his natural thoughts, or burn with his natural passions.
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