Remote relations, cultures of distance
Artwork from Zoom website, https://zoom.us/docs/en-us/covid19.html
Among the most unsettling attributes that have quickly gained notoriety (and poignancy) due to the current crisis’ new linguistic conventions and discursive framings can be counted “from a distance” or “remote”. In particular, the prescription of “social distancing”, which for too long has been met with incomprehension and reluctance, plunged the idea that intimacy relies on physical proximity into deep crisis. Instead, the possibilities and necessities of non-physical proximity as well as long-distance business and educational relationships have been granted utmost importance. The Greek prefix τῆλε (tele) and its inimitable career in image and media technologies, through optical devices such as the telescope and the telephoto lens or in apparatuses like “tele-vision” gains an ethical dimension and at the same time seems to break ontological ground.
This new meaning of the long-distance relationship is far less novel than what is being presented at the moment. If Skype and Zoom are heralded as tools of learning and teaching, planning meetings and unplanned socializing in “remote” mode, they can also be seen as a re-enactment of individualized and locally unbound study. This was the case with television and how it was implemented by Western educational systems through didactic – rehearsed pedagogical sub-departments such as tele-learning or school television and educational institutional inventions exemplified by the distance remote learning universities of the late 1960s to the 1980s – arguably the most glorious example being the BBC’s intersection with the British Open University.
At a more fundamental level, however, every image is to be considered a distancing tool. In “Nah und Fern zum Bilde”, a short 1986 essay (the title of which was also used for a later anthology of some of his miscellaneous essays) by the late art historian Martin Warnke incorporated these somewhat mysterious sentences: “The gaze from a close range can be found suspicious of wanting to examine something, as if to watch something with a magnifying glass. To look at an image from close range usually implies wanting to get something out of it that it never wanted to give.” This formulation, inspired by a Rubens drawing of a Pordenone fresco, may be taken as advice for how to behave in these days. TH
March 19th, 2020 — Rosa Mercedes / 02
On Friday, April 6, 2021, at 8 p.m., Akademie Schloss Solitude will host a Zoom event with former HaFI Residency fellowship holder Shirin Barghnavard about her film “Invisible” (2017). Moderated by Doreen Mende. To register, click here.
April 14th, 2021
The magazine MONOPOL currently features an interview (in German) with Shirin Barghnavard about her film “Invisible,” which she conceived and shot during her HaFI residency in 2017.
April 14th, 2021
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.”
November 7th, 2020