Facebook, Peace, and Documentary
August 13, 2014
Last week, I used my own changing Facebook experiences during the gruesome Israel/Gaza conflict to think about the often unattended-to subtleties of Internet echo chambers in light of family, identity, friendship and war. There’s been a great deal of interesting writing about these themes since, so I’m glad I’m part of that conversation.
But many of us have been trying to make sense of Facebook and politics for awhile now, so I wanted to point towards this great collection from the Institute of Network Culture, Unlike Us (which you can download for free and which I have relied on a lot in my own thinking), and also to this essay that I wrote that has just come out, “Ceding the Activist Digital Documentary,” for another really useful anthology surrounding issues of activism and networked expression, New Documentary Ecologies, eds. Nash, Hight and Summerhayes (Palgrave MacMillan).
In that essay, I also theorize about coming and going, staying, representing and being silent in networked environments (of machines and humans), espeically in relation to activist possibilities for representational politics in a world dominated by Facebook and other corporate-owned, user-produced media. I conclude:
While it has never been clear how to judge the effectiveness of any documentary, let alone ‘activist’ documentaries, I am noting that my (our?) barometer has changed. As Jane Gaines work on more traditional documentary forms (1999, p. 88) cautions, it was never clear that activist documentaries catalyzed ‘activism’ as much as they modeled a ‘political mimesis’: a vision of what activism looks and feels like. By both seeding realist representations and then seceding from representation, by being silent online (and even elsewhere) while at the same time speaking with our bodies, we can make the Activist Digital Documentaries that we might most need now. And this, it turns out, is the special domain of activist art, and documentaries, within the digital—to ‘body back’ as Gaines puts it—to model in documentary a new way of being in the digital/real world (what Beth Coleman, 2012, calls ‘x-reality’) in a linked and larger project of communally produced, carefully theorized, artfully communicated world-changing:
This call for a shared right to silence is thus made because it is silence that is needed to enable human voices to be heard again … One example of this kind of engagement—and one that shows how silence may be suggestive and how it may operate to produce convivial relations—are the communication tactics of some within the Occupy movement. Particularly the gestural commentaries those listening provide in supplement—rather than interrupt—those speaking. (C. Bassett, in Unlike Us)
The art of activist digital documentaries will be in the staying and using and the leaving, through the voices we have wanted and gained, and then through shared silences where things are heard and felt and said without being recorded. (Ceding the Activist Digital Documentary)
As things stay quiet for now in the Middle East, I hope we can use this period for more reflection, and continued conversation, both on and off Facebook, of course.