Towards the end of visual capitalism

 

Visualizing the History of Pandemics

By now, as to be expected from a news situation as engrossing as this one, the compulsion to reach an (or even the) image of the pandemic (if not the world history of pandemics), is tantamount. The visual production on/of the crisis has been accelerating for weeks and has currently entered its competitive phase.

Map of European countries that have (or haven’t yet) closed their schools (The Guardian, March 16, 2020)

Photo editors and designers for news outlets such as The Guardian are constantly feeding the collective imaginary, sometimes in the form of helpful collections of visual aids to cope with the crisis, but mostly with editorial artwork deploying the key visual tropes of the moment — the “battlestar” virus and humans seeking protection from it through items such as gloves and face masks.

In addition to these standard visual responses, however, there’s a strand of creativity and inventiveness in infographics that capitalizes on the situation, using it as an opportunity to enrich and extend their portfolio. Consider the site of infographic agency Visual Capitalist, popular among World Economic Forum folks and followers. Apparently, with their “visual history of pandemics,” the people of Visual Capitalist are prepared to turn the crisis into an/their image. Visual Capitalist’s mission statement reads sufficiently self-confidently in this regard. “Visual Capitals exists for one reason – to help make this complex world a little easier to understand. Humanity generates a staggering 2.5 exabytes of data every day, and it’s becoming increasingly difficult to glean insight from the tsunami of information we’re exposed to. We cut through the spin and noise of the news cycle to highlight big picture global trends, and explore the context that gets overlooked. We use data-driven, powerful visuals to keep millions of people around the world ahead of the curve.”

This is not to say that VC should be blamed for doing what they do. Their reading, processing, and translating of the data may actually prove to be a viable contribution to the solving of the crisis. It is the competitive drive behind these enterprises in visualization that makes one wonder how they relate to all the other races (scientific, medical, technological, political, economical …) to increase insight, provide rescue, develop a vaccine, etc., as to be witnessed at the moment — while the default modes of capitalist competition are put on hold, and being suspended step by step as the crisis unfolds. Competing for the right, and that is, the most useful image in times such as these, should cease to be a race for property rights, commercialization and gatekeeping – visual capitalism (even if meant ironically, as one may suspect in the case of Visual Capitalist) has definitely reached a deadlock.  TH

 

 

 

 

 

March 16th, 2020 — Rosa Mercedes / 02
Interface

Tatsiana Shchurko on the War in Ukraine, Entangled Imperialisms, and Transnational Feminist Solidarity, via LeftEast (May 2, 2022): “[An] uneven knowledge production and the many implications of the war against Ukraine reveal the dire need to develop a feminist anti-capitalist critique of multiple imperialisms. This language should grow from within the occupied and suppressed communities of Eastern Europe and Eurasia. An anti-imperialist and anti-capitalist feminist positionality grasps that the local is part of a global in an effort to build transnational connections of mutual aid and support against state and corporate violence. For example, statements of solidarity with Ukraine expressed by the International Committee of Indigenous Peoples of Russia and Native American communities along with the anti-war feminist march in Bishkek (Kyrgyzstan) on March 8, 2022, pointing out that the war in Ukraine should be of concern for a broad transnational community, may serve as instrumental examples of alternative anti-capitalist and anti-imperialist solidarities that stretch beyond state regulations and macro-politics and foreground decolonial perspectives, necessary in addressing entanglements of multiple imperialisms. Such solidarities also bring to light hidden interconnections of the past that allowed for distant communities to survive and support each other against the violence of imperialist intervention and its attendant capitalist exploitation. Thus, the march in Bishkek reminds of the socialist roots of the International Women’s Day to call for internationalist, intersectional, class solidarity against imperialism and militarism.”

Vasyl Cherepanyn on that “It’ll take more than tanks to ease Germany’s guilt” (via Politico): “Since the Soviet Union’s collapse, Germany has been imposing neocolonial optics on its Eastern European ‘peripheries,’ and on the post-Soviet space in particular, where Ukraine was long considered a gray buffer zone about which the EU was ‘deeply concerned.’ Germany didn’t bother itself much with differentiating between former Soviet countries’ pasts. Even until recently, any Ukrainian agenda in Germany was often ‘balanced’ with a Russian perspective, so as to not exclude the latter by any means.”

An unnamed anarchist and art scholar, who joined the Territorial Defense Forces, quoted by Olexii Kuchanskyi in an essay on “Digital Leviathan and His Nuclear Tail” (via Your Art and e-flux notes): “At dawn, Dima and I talked about cinema. Dima believes that cinema is inferior to literature as a means of expression because you spend much more time with a book than a film. It’s a really interesting point, something to dig into. I studied at the department of art theory & history and I never thought of it. Dima served in the military after school and worked at the factory all his life. He listens to rap, smokes pot, and tries to have fun. He is thirty-eight, his child was born last year. He likes Wong Kar-wai and is a fan of Asian cinema in general. Dima communicates by quoting Omar Khayyam, Confucius, and other awesome guys.”

April 20th, 2022

Vasyl Cherepanyn (Visual Culture Research Centre, Kyiv) on Putin’s “World War Z” and the West’s deadly “foot-dragging”, via Project Syndicate: “The main feature of this Western condition is constant belatedness. The West has always been too late, incapable of acting ahead and instead just reacting to what has already happened. As a Ukrainian joke went at the time, ‘While the European Union was taking a decision, Russia took Crimea.’ Then as now, Ukrainians wondered, ‘What is the West’s red line? What will compel the West to act instead of waiting and discussing when to intervene?’”

Barbara Wurm on Lithuanian director Mantas Kvedaravičius, killed in Mariupol, via Die Welt: “Kvedaravičius unfolded a whole spectrum of visual anthropology over a decade with only three films [Barzakh, Mariupolis, Parthenon]. It now awaits evaluation and exploration. The time will come. The films themselves make possible an infinite immersion in the matter of the world, between dream and reality, horror and everyday life, facts and phenomenal imagology.”

April 5th, 2022

Statement by #AfricansFromUA on Equal Treatment via e-flux notes: “Non-Ukrainian nationals from the war in Ukraine arriving in Germany have been facing very different terms of treatment—both in different federal states and cities but also within the very same city throughout time and different facilities. While some received so called ‘Fictitious Certificates’ for one year without further procedures others were pressured to submit an asylum application with their finger prints registered and passports seized. Again others were given a so called “Duldung” including the threat of deportation.”

April 5th, 2022
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