After seeing pictures on TV—real, fake and hard-to-tell-and-does-it-really-matter (how can I know if the picture I include below is “real”? There are currently very few images of the damage from Trump’s missile strikes available online outside of those produced and shared by Russian journalism. Meanwhile the American military and press are releasing embedded images of the rocket’s red glare, the bombs bursting in air. How are our images being produced, controlled, circulated? What are the larger forces that influence virality and visibility? We need time to understand these and all images. We need to think through what to do with what we see. We need time and context and care) …
After he and we saw a picture on TV, Trump, the traditional and social media all moved fast. Too fast. Internet quick. With algorithmic speed. This is the dangerous cycle and logic of virality—one that moves with barely human (what I have called proto-being) momentum from images and tweets to missiles, directives, policing, travel bans all with long-term lived consequences for human beings and nations.
In #100hardtruths #80 I suggested we need strategies to “outlast virality.” “Outlast virility,” I suggest, in relation to a cycle of news, #fakenews, and related actions that have accelerated to a dangerous pitch where rational, legal and ethical care and consideration can no longer be exacted before we act. “Outlast virility” in connection to said speed and the virile weaponized powers of patriarchal aggression it authorizes.
In 5 #hardtruths and 2 new pledges @#50 I worried that:
the delightful ambiguities of the fake/real binary are being played by this administration, and the sectors of the media and internet that are built upon and refract them, in ways that are at once confusing, entertaining, distracting and also deadly real for actual people and communities. Understanding and not simply producing contradiction; naming and not evading complexity; breaking through the digital hall of mirrors allow us to breaking through the digital hall of mirrors allow us to focus our attention and action upon the real-world applications of #fakenews, a critical project of this time.
See More:
- How Do I (Not) Look? Live Feed Video and Viral Black Death,” Alexandra Juhasz
- “The UnWar Film,” Alisa Lebow
- Gendered Tropes in War Photography, Marta Zarzycka
- “The Production of Outrage: The Iraq War and the Radical Documentary Tradition, Jane Gaines
- The Right to Look, Nicholas Mirzoeff
- Practices of Looking, Lisa Cartwright and Marita Sturken
- #100hardtruths-#fakenews: a primer on digital media literacy
#62, don’t look
March 25, 2017
In “How Do I (Not) Look? Live Feed Video and Viral Black Death,” July 20, 2016, after the viral visibility of the Diamond Reynold’s live feed video of Philando Castile’s brutal death at the hands of the police, I wrote some #100hardtruths that must still figure:
“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. This is particularly true because it may feel like our current media conditions of onslaught and abundance allow us no choices at all. 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. Below is a brief primer of ways to understand how or why we might (not) look.”
In that article, I share these principled positions: Don’t Look, Look Askance, Look at Death, and Look at Death’s Platforms and connect these to deeper traditions of thinking about practices of looking.
See More:
- How Do I (Not) Look? Live Feed Video and Viral Black Death,” Alexandra Juhasz
- “The UnWar Film,” Alisa Lebow
- Gendered Tropes in War Photography, Marta Zarzycka
- “The New Public Sphere: Global Civil Society, Communication Networks, and Global Governance,” Manuel Castells
- “The Production of Outrage: The Iraq War and the Radical Documentary Tradition, Jane Gaines
- Dying in Full Detail: Mortality and Digital Documentary, Jennifer Malkowski
- The Right to Look, Nicholas Mirzoeff
- Practices of Looking, Lisa Cartwright and Marita Sturken
- #100hardtruths-#fakenews: a primer on digital media literacy
- Evidentiary Realism, NOME Gallery + Fridman Gallery
- “I Thought I was Seeing,” Jaroslav Andel
- A Companion to Contemporary Documentary Film, eds. Alexandra Juhasz and Alisa Lebow
AIDS Activist Shorts and the Emergence of Queer Cinema
October 23, 2009
Last Friday night, I attended a screening of nearly twenty-year old AIDS activist videos (the scenes of my youth; the research topic of my juvenalia) which were part of the ACT UP NY: Activism, Art and the AIDS Crisis Show at the Harvard Art Museum. My friends Sarah Schulman and Jim Hubbard’s ACT UP Oral History Project took up teems of monitors in the main gallery space, unrolling uncountable hours of testimony to community, counter-cultural outrage, loss, and art-making. It was overwhelming. An impressive configuration for their massive media archive.
At the screening, I was pleased to see the humor, joy, and sexual delight in the videos on display, as well as the way that we spoke in every genre (documentary, music video, art film, advertisement, cable access) we already knew (and some we invented) because we were compelled to be heard.
Mostly, I was moved by the role of feminism in our work and movement. How we brought self-health, community-based, and pro-sex theories and organizing to gay men, and how they shared with us their cultural capital, camp, and joy in sexual defiance. It was so clear from the work on display that AIDS activist video led to queer cinema in large part because, through the movement, women and gay men stretched our lives, causes, and love to demand new ways of living and working together and fresh modes of representation complex enough to hold our radical unions. For example, I was pleased to see my old friend, Zoe Leonard there (she was representing Fierce Pussy). We worked on The Watermelon Woman together literally making the move from AIDS to queer cinema, as did Maria Magenti, Rose Troche, Alisa Lebow, Ellen Spiro, Carol Leigh and so many others.