Does self awareness add something of value or take it away? Consider some examples:
In philosophy, Harry Frankfurt gives an account of personhood that necessitates a multi-tiered awareness of desires. A person not only has desires, but also has desires about those desires. Your homeostatic existence, its torture or its ease, depends on a constant tussle between levels of desires.
The artist can become hyper-aware, such as Vermeer painting himself painting.
In "E Unibus Pluram: Television and U.S. Fiction" David Foster Wallace presents the authentic but outdated rebel:
The next real literary “rebels” in this country might well emerge as some weird bunch of anti-rebels, born oglers who dare somehow to back away from ironic watching, who have the childish gall actually to endorse and instantiate single-entendre principles. Who treat of plain old untrendy human troubles and emotions in U.S. life with reverence and conviction. Who eschew self-consciousness and hip fatigue. These anti-rebels would be outdated, of course, before they even started.
Maybe Wallace gets at the feeling by pointing to something direct, human. Shake a hand, lock ocular nerves, reminisce for a while. That’s direct. We’ve seen that.
Or maybe he hits a nerve: We’re tired of stacking entendre’s, one-upping, and potpourri-ing our inner lives with out-of-context historical quotes. We’re digesting too much meta content too often and at some point it’s time to upchuck. For example, take one consequence of meta culture, hyper-irony. Let’s look at how the self-referential layers multiply at an unbearable pace.
Situational irony is when an expectation is met with the opposite outcome. A meteorologist plans a vacation right in the eye of the storm. Modern day Don Juan never gets swiped the right way on Tinder. Your anti-meta culture quote is souped-up into a meta humor meme about your meta humor so that you can laugh at yourself laughing at others laughing about their laughing.
Dramatic irony adds another dimension: audience vs. character perspective. On stage and in film, dramatic irony works effectively by contrasting what the audience knows with what the character believes, so it’s not just the expectation, it’s whose expectation that is important. Romeo thinks Juliet is dead, Schrader isn’t aware that Heisenberg is his brother-in-law, Luke doesn’t know Darth Vader is his father; but the audience knows. The audience waits for the moment when the character replaces his falsehood with the truth, already seen by the audience. An effective irony structure for comedy is that the characters are clueless about their absurdity, even within moments of reflection. Harry and Lloyd are too stupid to know they’re stupid (Dunning-Kruger Effect). Lloyd sells the van for a scooter and, in a moment of reflection, Harry says, “…just when I think you couldn’t possibly be any dumber…you go and do something like this, and…totally redeem yourself!” The audience expects the characters to figure out their stupidity, but they never do.
Key & Peele call it out best:
If you like the rebellion and resignation route, sometimes the Zen line is best: “The mountain is just a mountain.” Or, “When you eat, eat, when you sleep, sleep.” Maybe Deadpool said it better.