Special Disinterest
Special Disinterest
That special interests are part of the autistic phenomenon is commonly known, with me never feeling strange thanks to my friendly environment, where as a child I diligently searched computer game files for interesting fragments, knew the latest car models and mobile phones inside and out, was probably the only young person with an active interest in classical music, or even today could find any bare skin in those books of knowledge with astonishing precision.
Special interests, which are highly absorbing and obsessively pursued activities, can also change, recur, or even disappear over time.
But this is not what this is about, rather the flip side.
Because as much as we try to see autism through the most positive eyes and special interests are mostly viewed benevolently (and rightly so, because this hyperfocus is essential for a neurodivergent brain), there are also purely restrictive behaviors.
And these are less about rejecting hostile sensory impressions, like the residual aromas of mint oil (yuck) or the nonsensical mixture of milk and pasta (sob) or the avoidance of agitated crowds (demonstrations are the worst).
It’s about things to which similar energies are devoted as to one’s own fields of interest, but with the fundamental difference that these things are rejected with an unshakable and disadvantage-accepting power.
For me, this includes (but is not limited to): local radio, soccer, the dubbing of films into another language.
If I were not capable of self-reflection, this would sound like unnecessary hate; and for a long time, I did not understand where these deep aversions came from. I even liked soccer as a child, at least the 2002 World Cup sticker album with all the data and facts and its collecting appeal. But something about the extent of the emotions and personal observations of how a person’s nature can change while playing did not fit with the game in and of itself. And projecting all this onto today’s big soccer industry, I only have incomprehension and a big blockade against soccer fan culture circles. The good news: I feel good about my point, and so do the others about theirs.
And the thrill of rooting for something uncontrollable can be satisfied in other ways, anyway.
Music is another special matter, related to conscious engagement with musical works and the appreciation of a very individual and sometimes extremely emotional art form. Due to the over the years doubtful selection of local radio stations in Germany and the focus on “easy to listen to and safe” and the fact that it is widely turned on because of the “radio” and not because of the contents it broadcasts, local radio fits so little into my worldview and my sensory funnels that I reject it categorically and with deep conviction.
And “just turning it off” is unfortunately impossible, as my brain perceives sounds almost unfiltered alongside my ears.
Regarding films, I have already encountered indignation and incomprehension with other Germans, as this people apparently care more about understanding every translated word (also acoustically foolproof through the dubby style of talking) than appreciating the acting performance. Because silent film has long been out of style and nowadays an actor conveys his role mainly through his voice.
It is also a question of the overall work: What language did the crew probably speak, and to which language world can the thoughts on set or in the studio be assigned? Is the vision of those responsible for the creation and completion of the film possibly related to a specific language?
Undoubtedly, dubbing creates jobs and accessibility (alongside subtitles, mind you), but can it also create art?
Examples of special dubbing are the films with Bud Spencer and Terence Hill, which acquired cult status in German only through their very artistic and free translations. Or Coldmirror’s Harry Potter parodies, where I am a bit cautious not to eventually disrespect the original work.
If someone values the factual content of a film within the German speaking style more than what actually contributed to its creation, then I am probably sitting on an opposite branch of the film tree and accept it but cannot reconcile it with my personal claim to art and culture.
What I would like to point out with this is the following: The reasons behind special interests and special disinterests often lie in the same nest and can reflect the same core.
Even if a person, whether child or adult, cannot precisely say what now makes them fight tooth and nail against a “completely normal, even great” thing, there are deeper reasons. And those reasons may even be quite positive ones and recognizable based on the special interests often in focus.

