Fake news directs our attention to something else we know to be true that remains often harder to see: the internet’s hidden corporate architecture and governmental backbone. The foundational lies of today’s internet—that it is a public good rather than a monetized commodity; that it promotes or is even interested in freedom of expression and civil discourse; that our actions here are activism rather than consumerism—are papered over by facetious platitudes.


A screenshot from the Russian Foreign Ministry’s website, from the New York Times, 2-23-17.

The fake news is not new, and it should not come as a surprise. In reality, the internet is primarily a place of censorship, capitalism, surveillance, distraction, and entertainment: the perfect incubator for fake news and all that might result from it.

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“In the Library of Black Lies, Edgar Arceneaux challenges the narrative of American progress, and in particular, African American progress through the selection, placement, and modification of books in a library of his own invention. Via this timely work, made last year, when fake news became ‘real’ news and the content of real news was interrogated, the artist presses for a closer look not only at what is patently true or false, but at the more complicated stories about our past that lead us to where we are now.” In conversation with Mark Marino, “he will also discuss the installation in relation to racial formation (the matter of black lives) and to the libraries of print (lies inked in black).”

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Twenty years ago, on March 13, 1997, Frank Rich penned an op-ed, “Lesbian Lookout,” in support of the NEA, which was under threat. The Watermelon Woman (Cheryl Dunye, 1996), which I produced and acted in, and Yvonne Rainer’s MURDER and murder, were that year’s perennial NEA whipping boys.

When it comes to a fixation on lesbian sex, even Howard Stern is a poor second to Pete Hoekstra, a Representative from Michigan. Mr. Hoekstra seems to have a curious obsession with sampling alleged lesbian porn financed by the National Endowment for the Arts. In a January letter to the N.E.A.’s chairman, Jane Alexander, he describes how he executed his solemn duty to watch a movie called The Watermelon Woman after ‘reading a review . . . which stated that [it] had “the hottest dyke sex scene ever recorded on celluloid.”‘ (What paper is the Congressman reading?)

Martha Page (me) and Fae Richards (Lisa Marie Bronson) in a photo from the Fae Richards Archive, Zoe Leonard

The Watermelon Woman has recently enjoyed a twentieth year remaster of our deteriorating print, and a twentieth anniversary re-release, commencing at last year’s Berlinale, moving on to MoMA, enjoying a week’s theatrical run at NY’s Metrograph, and now available for purchase. Supported by $31,500 in 1995 by the NEA, the last year the Endowment supported individual filmmakers, it has gone on to be a valued enough piece of American filmmaking that our remaster was supported by film culture stalwarts like the UCLA Film & TV Archive, Outfest, and the Toronto International Film Festival. It has remained valued for many things, including its art-world famous “Fae Richards Archive” of 82 images by Zoe Leonard re-enacting the life and contemporaries of our fake star, otherwise known as “the Watermelon Woman”; for its contributions to the sub-genre fake documentaries, of which I am also a scholar; for its place in history as the first African American lesbian feature film; and for its intelligent, disarming, honest depictions of the relations between owning and controlling imaging technologies and history, memory, and truth (also the focus of all of the #100hardtruths I pen).

Installation at Black/Feminist/Lesbian/Queer/Trans* Cultural Production, curated by Melonie Green, Melorra Green and Dorothy Santos

It is true that some recent re-reviews have noted the political artfulness of the depiction of lesbian sex in the film, but everyone knows that salacious sex is not really the film’s primary preoccupation (Dunye’s more heady interests in identity, self-reflexivity, film history, experimental form, and the political power of archives have contributed to its ongoing attention by scholars, as was demonstrated in the recent academic conference that was part of its anniversary). We understood the #hardtruth that bigots used its lesbian sex scene as a smoke screen for their much more prurient commitments to censorship, racism, sexism, and homophobia.

There are many haunting truths to be told about our experiences twenty years ago associated to past efforts to defund the NEA. As is true for many real statements about fake things, I hope our place within a previous generation’s successful defense may be useful for those working today to hold off this administration’s sorry attempts. Some of what actually happened now plays as phony as the claims trotted out against us, but as many of the facts of our place within the history of the annals of the NEA reflect tactics, and players, that stay true to this day: speak truth to power; fight for the right for the least-seen to speak truth to power.

  • For the most part, white men were our strongest champions as the Congress used our little picture for bigger aims. Frank Rich wrote on our behalf, and Alex Baldwin spoke for us on the steps of Capitol Hill. Having made a film about black women and lesbians’ lack of access to capital, media, and power, it still came as a shock that Cheryl never got to speak on her own behalf.

”We’re in the ‘no bullwhips, please’ phase of Federal funding for the arts,” Mr. Baldwin said after his two-day excursion here. ”I would love all art to be funded, for the Federal Government to spend $1 billion on the arts, and for the N.E.A. to be restored to what it was. ‘But the political facts of life are that funding anything that this Congress considers obscene will enable Dick Armey and the Republican leadership to dynamite the entire N.E.A.” (“Lobbyists Fight Cuts on Arts Day in Capital,” 1997)

  • But in the end, a congressional bill to defund the NEA by $31,500—staged as political theater to shame our film, and other attempts of American self-expression—was voted down on the floor of congress due to the simple and true words of one of our strongest champions, Representative Sheila Jackson Lee, from Texas. “Rep. Sheila Jackson Lee, a Democrat from Texas, took up Dunye’s cause in the Congressional debate, informing House members that ‘I’ve seen the film, and I think Cheryl Dunye is doing a wonderful job. Can we just say we have a difference of opinion?'” (“Can ‘Community Standards’ Apply to ‘Watermelon Woman,‘” 1997).

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#35, science is real

March 8, 2017

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ERRE and Margarita Garcia Asperas, Re/flecting the Border, 2017

“Last Sunday, just a few meters from Ana Teresa Fernández’s intervention [Erasing the Border (Borrando la Frontera)], Marcos Ramírez, better known as ERRE, staged a performative work titled Re/flecting the Border. A collaboration with fellow artist Margarita Garcia Asperas, the piece involved placing a tall mirror against the border, with a 16-by-4-foot table jutting out from it along the Mexican side. A communal dinner was held there, its reflection in the mirror creating the appearance of a cross-border meal. ‘With the reflection, you have a 32-by-4-foot-long table with people on both sides, but it’s just an illusion,’ ERRE says. ‘It’s like a mirage.'” (“For Artists, the U.S.-Mexico Border is Fertile Territory,” Matt Stromberg)

The #100hartruths about fake news aren’t easy. They are complex, complicated, contradictory. Like this one. For many of the past 34 posts, I’ve been celebrating the material as a check to #fakenews. I make strong claims like “Place Matters.” Yet in this post, in the same breath, I honor artistic illusions, photo-mirages. Today, it is the press of the imagination alongside the image, the aesthetic amidst the indexical, the affective within the factual that render the even harder truths that are allowing me to see.

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Today’s internet seeks, supports, and succeeds via virality. The pursuit of virality for media content on the web is understood as a truism and a good, as self-evidently powerful, as the natural pursuit of the habitat.

images3“Viral marketing depends on a high pass-along rate from person to person. If a large percentage of recipients forward something to a large number of friends, the overall growth snowballs very quickly. If the pass-along numbers get too low, the overall growth quickly fizzles.” marketingterms.com

Of course, virality is also a pre-condition for fake news. When ideas move fast—in their production, reception, or pass-along—we give up the time necessary for research, verification, contemplation, and action.images6

Given the internet’s fundamentally unhealthy imbrication of views, brand, market and celebrity, we must demand and produce sustaining environments that counter acceleration.

See more:

  • The Slow Writing Manifesto, Mark Sample
  • Slow Food International
  • The Art(s) of Slow Cinema, Nadine Mai
  • Learning from YouTube, Alexandra Juhasz. In my many years of thinking about and spending time in YouTube, I found myself immersed in the same contradiction of the fast/slow rendered here: i.e. I demand the slow in a fast form of and format for writing (in the video-book I call this “a plea for long-form in short-form”). In the example from the book that I link to here, “Hildebrand on Joanie 4 Jackie (March 31, 2009),” I discuss the early VHS video-sharing project (by mail) of Miranda July, Joanie 4 Jackie (itself just recently moved to the internet, but with great depth and context, thanks to the work of Astria Suparak and others, allowing it to be one of those rare internet places that I’ve been referring to in this project that uses the space to construct depth through material). I wrote in 2009, when things were much less fast then they are today: “While at first look these VHS chain letters seem to be a dead or dying form ‘given the ease, access, and cost of sharing video on the Internet,’ I realized that what they will always have over YouTube is the actual, small community that can only be created by the painstaking and careful act of choosing to attach your work to an object that already has a community built onto and within it. The VHS chain letter permits the safety of the slow through the space of the movable box.”
  • Joanie 4 Jackie, Miranda July

Last summer, in “How Do I (Not) Look, Live Feed Video and Viral Black Death,” I wrote:

We come to this cultural, political and media onslaught as individuals but, it is my contention that each of us must take responsibility for our own acts of looking. When we look (or write) we engage in the regimes of visibility—complex networks of power, ownership, and access that frame our viewing and knowing—that surround and inform violence. Accounting for our place, our needs, our actions in the face of viral videos of murder is one within a constellation of necessary ethical and political acts … when we have the choice to look, we are bound ethically and politically to what we witness and what we do with all we have seen.

What would be an ethical look at Fatima Avelica‘s cell phone video record of her father’s tragic arrest by ICE? Given the ubiquity of such images, their sheer unavoidability, is there more to be done then seeing, feeling, and then sharing? I choose two possibilities from my earlier response as a place to start and conclude with a third written today:

1) look askance: “also look carefully elsewhere—away from documents of the act of violence itself—to do the harder work of seeing the ‘causality, responsibility, and impact’ that often (or must) go unseen, even as (or so that) violence is made increasingly visible.

2) look at death’s platforms: “Ethical viewing considers not just our own looking at viral videos but at the broader political-economic and technological structures that produce, hold, and frame the videos that we see and share.”

3) look, feel and then do: Avelica’s video uses sound to effectively produce melodrama. Her anguished sobs render an emotional truth and impact on what would otherwise be a too-common, easily-expendable largely-unshared image of the definitive, daily, and increasing violence enacted against primarily brown and black people by the police, ICE, and other agents of our state. But the honest emotional charge written into the DIY composition of Avelica’s video has guaranteed its momentary virality, its massive seeability, and seen it will be: albeit quickly, interchangably, and surrounded by other things. How could its fleeting (over)visibility be used to motivate more?

Before we look, I would ask you to consider: what would honoring my three ethical looks look like? I might suggest that my previous 31 #100hardtruths, rendered here on the internet as a complex and building series of montages of images, analyses and links to resources—posts that take me real time and effort to write and share—represent one manifestation of this harder work.

Or, I could build a ramp to the viral video, that moves from causality:

to responsibility:firefoxscreensnapz001

to impact: Paying the Price: The Impact of Immigration Raids on American Children (The National Council of La Raza, 2007).

Alternatively, attending to my second suggestions for possible ethical looks, I could build a ramp to the viral video that moves from the broader political-economic and technological structures that produce

Combining traditional and social media with mobile connectivity, smartphones have redefined and expanded the dimensions of everyday life, allowing individuals to personalize media as they move and process constant flows of data. Today, millions of consumers love and live by their iPhones, but what are the implications of its special technology on society, media, and culture?

“Today, millions of consumers love and live by their iPhones, but what are the implications of its special technology on society, media, and culture?”


Why advertisers are all talking about Facebook Video, Fortune

and frame the videos we see and share.


Or I could ramp to the video with possible actions

or agents that can help

to address and build upon the powerful but usually fleeting emotional appeal of what we see and share.

My Brooklyn College colleague, Lindley Hanlon, after another demo.

My Brooklyn College colleague, Lindley Hanlon, after attending another anti-Trump immigration policy demo.

I hope it’s clear what I’ve tried to rather awkwardly demonstrate, limited as I am by the vertical design features of this (and any) blog. Giving time to build structures that hold viral images, and taking time to frame our viewing of them, are possible ethical projects of looking in a time where the speed and volume of image production and consumption equates rather tragically to the speed of image forgetting and a linked sense that there might be nothing to do in the face of the very real violent tragedies that such images record.

I am convinced that we can do more: