Tele-nausea: losing the presence

Image technology is built into communication tools on many levels – technical, ideological, diagnostical, etc. Providing visibility and audiovisual exchange amid the “war” against the “invisible enemy” however, organized by a global megastructure conglomerate of old school public television and radio ont the one hand and platform capitalism’s gated, paywall protected uber-architectures of “social” media and “content” delivery services on the other. Everything’s new, but it’s also dead and rotten. As Keller Easterling plainly states, “The smart city maintains the shine of the new, even while it centralizes information in ways that violate privacy, with a network that is primitive and crude.”

The longer the lockdown, the more people become aware of the limits of audiovisual connectivity. For they experience these screen-based provisions increasingly as the opposite of what they claim to be, i.e. as separation. I have been talking to many friends over the past few days who have developed phobic reactions to their own dependence on tele-presence. They regret and criticize the relentless condensation, compression, constriction of reality into (and by) the (handheld, desktop) screen. At any rate, the advantages of Skype and Zoom, of videochats and streamed media content have begun to recede. At least they are being seriously re-evaluated.

A friend was sent the Zoom joke above she had found on Twitter – a re-edited and updated version of Rembrandt’s Anatomy Lesson of Dr. Nicolaes Tulp.

The doctor is now isolated from his students and colleagues, who observe the surgery from a safe (and, arguably, social) distance. Only the corpse, spread out on the table in front of him, shares Tulp’s quarantine. Translating the anatomy lesson into the condition of the tele-lecture appears to work quite smoothly, the entire group of bearded, white, collared men seems in full consent. The altered scene, reminiscent of already established multi-modal robotic tele-presence systems in the health sector and care environments (assistive robotics) thus anticipates its general implementation in a future of universal quarantine and compulsory remote learning. For that very reason Dr. Tulp himself appears oddly redundant.

 

Icon of “Isolation,” from the website of NASA’s Human Research Program section on the “5 Hazards of Human Spaceflight”

Consequentially, rather than the incommunicado detainee, it is the distressed, numbed, info-overdosed solitary astronaut in her/his deserted spaceship, one of the subjects of NASA’s Human Research Program, who is now the running candidate for the role model of post-Corona distancing cultures.

In terms of the theory of the image, however, this is not exactly news. As André Gunthert, a leading French visual culture critic, reminds us in a blog entry on the “triumph of the images,” uploaded today: “We rediscover it every day in our digital exchanges: the image is not presence. Countless pragmatic pixel and numbers separate the experience of face-to-face encounters, which are not or poorly reproduced by the wired tools, from those of audiovisual mediation. I cannot touch or hug my virtual interlocutor. And the mosaic of screens in a videoconference only offers a disembodied and distant emulation of the physical meeting, with its varied levels of communication. But the image is no less irreplaceable when circumstances prevent direct contact. It is precisely this capacity for substitution that one of the first theoreticians of painting, Leon Battista Alberti, points out when he illustrates the powers of the image by evoking the most absolute of separations. ‘Plutarch says that Cassander, one of the captains of Alexander, trembled through all his body because he saw a portrait of his King’ [Plutarch, The Life of Alexander, LXXIV,4] (On Painting, 1435). When Alexander was alive, his portrait was only a copy, necessarily inferior to the model. But in the absence of the living body, the image becomes a remnant of presence. It is the conditions external to the representation that define its value. […] Images are not transparent vectors of information, and their limits or manipulations must be constantly recalled. But spectacles are only superfluous or redundant if we cannot freely access what they contain. When circumstances take us away from them, we do not hesitate to resort to substitute forms.”

Gunthert adds for consideration that there is “a good chance that the large-scale experimentation with telepresence, which has long met with much resistance, will encourage its lasting adoption. The repetition of epidemic episodes, the resulting hygiene pressure, not to mention the rise in ecological awareness, are combining to reduce traffic and reduce opportunities for gatherings. Telepresence applications are therefore destined to become established in a society whose codes will be profoundly transformed.” Such transformation of societal codes certainly is taking place right now. Only the extent to which it will gain (and maintain) a foothold that remains to be seen. Recent research on Communication in the Era of Attention Scarcity may well come in handy here. TH

 

 

April 3rd, 2020 — Rosa Mercedes / 02
Interface

The Reconstruction of Ukraine. Ruination / Representation / Solidarity, online symposium, September 9-11, 2022. “The Reconstruction of Ukraine: Ruination / Representation / Solidarity” devotes particular attention to cities, architecture, art, culture and psychological trauma – but the scope of the conversations it aims to start is broader. In due course, the discussions held during the symposium may coalesce into myriad projects, initiatives and experiments undertaken by government institutions, municipalities, educational and cultural bodies and other more interstitial actors. The ambition of this symposium is to establish a platform for dialogue, facilitating communication, collaboration and constructive argument between diverse actors and initiatives.

George Edwards (Zetkin Collective) on war, nationalism and the “anti-climate lobby” (via Arts of the Working Class): “The latest prognosis of this particular war was spelt out in a flurry of reports from the IPCC; the most recent, described as ‘an atlas of human suffering’ by the chief of the UN, demanded ‘rapid, deep and immediate’ emissions cuts in all sectors to ensure an inhabitable planet for all. In step with the science, many wish this conflict to mark the beginning of an intensified programme of decarbonization, ridding economies of not only Russian, but all fossil fuels, wherever their geological source. But whilst political leaders scramble abroad to secure new sources of fossil fuels – sweet-talking sheiks and summoning LNG terminals from the ground – a resourceful and committed cohort, let’s call them the anti-climate lobby, refuse to accept this diagnosis. The partakers in the fossil industry have seized upon this crisis, sensing it as an opportunity to enlarge and entrench economic interests rooted in fossil fuels. As the course of action prescribed by the IPCC imperils this line of business, the attempts to secure fresh investments in fossil fuel infrastructures, to lock-in production and secure profits for the coming decades may feel all the more pressing. The solutions they pose also fit within the national frame and it is with nationalist political forces that they find their most ardent allies.”

July 31st, 2022

The fundamental difference that we face in Europe at the moment between the Western approach characterized by the pursuit of peace and the Eastern one focused on liberation and independence poses a dramatic challenge – in order to survive and progress, democracy as a political regime has to be capable of defending itself also in a military way.” Armed Democracy revolves around the concepts of imperialism, liberation, fascism, autocracy, revolution, and militarization in pursuit of the world to come on Europe’s burnt out land. Conceived by the Kyiv Biennial and Biennale Warszawa from the East Europe Biennial Alliance, this special public program, curated by Vasyl Cherepanyn within the 2nd edition of Biennale Warszawa, the program is a first part of the series organized by the East Europe Biennial Alliance discussing Russia’s military invasion of Ukraine and taking place in Warsaw, Prague, Kassel, and Riga over the summer and fall of 2022.

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
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