Die Pandemie als Sehorgan

 

Es ist eine Sache, über die Coronavirus-Krise als Anlass und als Gegenstand medialer, visueller, sozialer und diskursiver Produktion nachzudenken, zu sprechen, zu posten. Diese Art von analytisch-kritischem Zugriff ist gut eingeübt. Beruhend auf dem mehr oder weniger funktionierenden Zusammenspiel mental-kognitiver Reflexe sorgt dieser Zugriff dafür, dass in A plausibel der Ausdruck, die Repräsentation, die Metonymie, die Allegorie, das Bild usw. von B vermutet und entsprechend angeschaut wird. Aber vielleicht müssen alle Elemente der Lage noch einmal anders gesehen, die Phänomenologien der Krise daraufhin geprüft werden, ob sie nicht selbst in die Krise geraten sind.

Wenn der Migrationssoziologe und Aktivist Sandro Mezzadra in einem viel gelesenen und geteilten Blog-Eintrag (auf Italienisch bei Euronomade, in englischer Übersetzung auf der Homepage von Verso) schreibt, dass diese globale Pandemie und die Maßnahmen, die von der italienischen Regierung gegen sie ergriffen werden, in Wahrheit lediglich „exacerbating tendencies“ seien, „that have already existed for a while“, dann könnte daraus gefolgert werden, dass die Pandemie ihrerseits ein Organ oder ein Medium der Wahrnehmung ist. Schließlich bringt sie zu klarer und brutaler Sichtbarkeit, was bis vor kurzem noch vertuscht, ignoriert, übersehen werden konnte (und werden musste: denn anders hätten die ideologischen Betriebssysteme, auf denen das kapitalistische Welt-System mehr oder weniger widerstandslos lief, nicht weiter genutzt werden können).

Was also, wenn die Krise nicht das „Bild“ von etwas wäre, sondern ihrerseits Wahrnehmung ermöglicht? Was, wenn die unumkehrbare Situation, in der sich die „Weltgemeinschaft“ nun wiederfindet (und darin möglicherweise neu erfindet) eine schockartige Steigerung der Sichtbarkeit der globalen Krisen-Schichtung ermöglicht – und zwar nicht in erster Linie als Ergebnis von zahllosen Forschungen, Formen politischer Organisierung, künstlerischen Produktionen usw., sondern als eine Korrektur des kollektiven Sensoriums im gigantischen Maßstab?  TH

20.03.2020 — Rosa Mercedes / 02
Schnittstelle

Some basics from the Strike MoMA site: „Campaigns, actions, and letters chip away at the regime’s facade from the outside. Inside, every time workers organize, defy the boss, care for a coworker, disrespect secrecy, or enact other forms of subversion, cracks are created in the core. Cracking and chipping, chipping and cracking. As the walls that artificially separate the museum from the world collapse, we reorient away from the institution and come together to make plans. Let us strike in all the ways possible to exit from the terms of the museum so we can set our own.“

 

via Hyperallergic on the environmental impact of blockchain referring to recent NFT (non-fungible token) art sales: „This is not the first time the art world has come under scrutiny for being on the wrong side of the climate conversation. Artists and activists have protested everything from the carbon footprint of physical art fairs to the fossil fuel money funding major museums. But some say the energy consumption of cryptocurrencies is particularly egregious, and research shows it’s relatively easily quantifiable. A study by Cambridge University, for instance, estimates that bitcoin uses more electricity per year than the entire nation of Argentina. (Ethereum mining consumes a quarter to half of what Bitcoin mining does, but one transaction uses more power than an average US household in a day, according to the Institute of Electrical and Electronics Engineers.)“

 

Nicholas Mirzoeff on “Artificial vision, white space and racial surveillance capitalism”: “Based as it is on ‘epidermalization’ (the assertion of absolute difference based on relative differences in skin color), AI’s racial surveillance deploys an all-too-familiar racialized way of seeing operating at plan-etary scale. It is the plantation future we are now living in. All such operations take place in and via the new imagined white space of technology known as the cloud. In reality, a very material arrangement of servers and cables, the cloud is both an engine of high-return low-employment capitalism and one of the prime drivers of carbon emissions.”

 

Sara Ahmed on the performativity of disgust (from The Cultural Politics of Emotion, 2004): “To name something as disgusting is to transfer the stickiness of the word ‘disgust’ to an object, which henceforth becomes generated as the very thing that is spoken. The relationship between the stickiness of the sign and the stickiness of the object is crucial to the performativity of disgust as well as the apparent resistance of disgust reactions to ‘newness’ in terms of the generation of different kinds of objects. The object that is generated as a disgusting (bad) object through the speech act comes to stick. It becomes sticky and acquires a fetish quality, which then engenders its own effects.”

15.06.2021

auf Hyperallergic über die Umweltbelastung durch Kryptowährungen aus Anlass jüngster Auktionen von NFT (non-fungible token)-Kunst: „This is not the first time the art world has come under scrutiny for being on the wrong side of the climate conversation. Artists and activists have protested everything from the carbon footprint of physical art fairs to the fossil fuel money funding major museums. But some say the energy consumption of cryptocurrencies is particularly egregious, and research shows it’s relatively easily quantifiable. A study by Cambridge University, for instance, estimates that bitcoin uses more electricity per year than the entire nation of Argentina. (Ethereum mining consumes a quarter to half of what Bitcoin mining does, but one transaction uses more power than an average US household in a day, according to the Institute of Electrical and Electronics Engineers.)“

 

Nicholas Mirzoeff on “Artificial vision, white space and racial surveillance capitalism”: “Based as it is on ‘epidermalization’ (the assertion of absolute difference based on relative differences in skin color), AI’s racial surveillance deploys an all-too-familiar racialized way of seeing operating at plan-etary scale. It is the plantation future we are now living in. All such operations take place in and via the new imagined white space of technology known as the cloud. In reality, a very material arrangement of servers and cables, the cloud is both an engine of high-return low-employment capitalism and one of the prime drivers of carbon emissions.”

 

Sara Ahmed on the performativity of disgust (from The Cultural Politics of Emotion, 2004): “To name something as disgusting is to transfer the stickiness of the word ‘disgust’ to an object, which henceforth becomes generated as the very thing that is spoken. The relationship between the stickiness of the sign and the stickiness of the object is crucial to the performativity of disgust as well as the apparent resistance of disgust reactions to ‘newness’ in terms of the generation of different kinds of objects. The object that is generated as a disgusting (bad) object through the speech act comes to stick. It becomes sticky and acquires a fetish quality, which then engenders its own effects.”

07.11.2020

David Graeber (1961-2020) on What Would It Take (from his The Democracy Project. A History, a Crisis, a Movement, 2013, p. 193): „We have little idea what sort of organizations, or for that matter, technologies, would emerge if free people were unfettered to use their imagination to actually solve collective problems rather than to make them worse. But the primary question is: how do we even get there? What would it take to allow our political and economic systems to become a mode of collective problem solving rather than, as they are now, a mode of collective war?“

07.09.2020
mehrweniger Kurznews