Reconfiguring liveness


These days hardly any other media technology receives as much approval as live streaming. It can be considered one of the central features of what will be (or is already) called “corona culture,” the culture of physical (if not social) distancing, as the live event, which depends fundamentally on physical co-presence, has been suspended indefinitely. This measure appears virtually inconceivable – socially, aesthetically, economically. Thus, in a move to cling to the live event as their founding principle and business model, cultural institutions everywhere, large and small, public and independent, have started to broadcast live concerts, operas, plays, readings, performances, dj sets, etc.

The venerable debate about the mutuality of artistic expression and “live” audience, of physical presence and aesthetic experience, especially in the performative arts, has been aptly summarized by the title of Philip Auslander’s classic Liveness: Performance in a Mediatized Culture (1999). A few days ago, any traditional notion of “liveness” had to cease, brutally. Conversely, it is being recalibrated against the background of the corona condition. In contrast to live sports such as football, for which so-called ghost games are not a permanent option, for the above mentioned cultural forms and formats, the ghost game, playing without an audience, is at least approved as a modality of crisis resilience.

Clearly we can push aside many of aesthetic theory’s beloved arguments about the indispensability of the interaction between the stage and the auditorium for a while. On the one hand, the aesthetic argument gives way to the economic, on the other, there is no way around redesigning cultural consumption under the conditions of quarantine. It remains to be seen what effects the abrupt implementation of the livestream principle in the cultural field will bring about. It is quite likely that many of the physical sites of the performative arts and music will not recover from the crisis, for many owners and operators are facing bankruptcy. However, economic damage is but one aspect for consideration. Live venues will also suffer from the collective rehearsal of the livestream mode that is now taking place, already featuring the marks of a complex media transformation.


Live video streaming of influencer Lauren Hallanan

Live streaming video services such as YouTube or Twitter have been paving the way for this development for years. The hyperculture of influencers and other internet celebrities plays a decisive role here. The popularity of live streaming in China, for instance, has helped create massive, addictive dependencies among users. Recent behavioural psychological studies on computer and internet practices emphasize online identification both with the streaming “live” artists and presenters and the streamed audience. In the course of one of these studies, 338 people were interviewed online: the “subscales” of the survey included “demographics, psychological factors (life satisfaction and loneliness), Big Five personality traits [i.e. openness, conscientiousness, extraversion, agreeableness, neuroticism], motivations, and problematic use of live video streaming services.” Of the results, the following stood out: people with “neurotic personality” tended to use live video streaming “excessively”, while those with “pleasant [agreeable] personality”; “instrumental motivations” such as the search for information or self-presentation show little relation to the symptoms of addiction, while “passive motivations” such as “interaction, escapism and voyeurism” are associated with addiction.

Interaction, escapism and voyeurism – are these the ingredients for the future that the cultural scene will have to adapt to? Or has already adapted to? The said “motivations” are well known parameters of the culture industry and spectacle. Now, with full legitimacy of the current emergency, they could suffocate the remaining residuals of self-determined cultural practice. And while this is taking place, the data centers around the world are heating up (only to be cooled down again, producing massive carbon and water footprints) to enable all the “passively motivated” streaming traffic. Adding to the cultural and economic disaster, more environmental havoc would be caused. Perhaps live streaming should be reduced to the bare minimum: to tutorials around health and medical issues, to tele-meetings of the infected and vulnerable with their loved ones, to non-commercial online courses in the newly decentralized educational systems. TH

March 21st, 2020 — Rosa Mercedes / 02

Olena Lyubchenko on Whiteness, Expropriation, War, and Social Reproduction in Ukraine (via LeftEast): “[…] when we hear on the news that ‘Ukraine is fighting a European war’ and ‘Ukraine is defending Europe’, amid images of fleeing ‘poor white’ women with children prioritized over racialized ‘Others’, ‘Ukraine’ is being made ‘white’ in the global imaginary. That is, “the injunction to ‘return to Europe’ by way of Europeanization is enabled and conditioned on the mythologies of Western civilization, and that Europeanization at once marks (promulgates) and unmarks (naturalizes) racial whiteness” [Nadezhda Husakouskaya and Randi Gressgård]. The paradox is that Europe’s existence as such has only been possible precisely because of the exploitation of global working peoples through expropriation of resources and today neoliberal economic reforms and reproduced by feminized labour.”

Vasyl Cherepanyn about the “inertness, hiding behind the European Wall” (via L’Internationale): “Many Western institutions that have been claiming ‘radical political engagement’ for years, have simply resorted to a white cube radicalism and self-satisfying humanitarianism, too afraid of acting politically beyond their comfort zone and unsettling their publics and authorities by attempting to affect the decision-making process regarding the Ukrainian cause.”

May 28th, 2022

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
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