Social Physical Distance Proximity Diagram (Journal of Visual Culture & HaFI, 24)
This is the twenty-fourth instalment of a collaborative effort by the Journal of Visual Culture and the Harun Farocki Institut, initiated by the COVID-19 crisis. The call sent to JVC’s editorial board, and a wide selection of previous contributors and members of its extended communities, described the task as follows: “There is a lot of spontaneous, ad hoc opinion-making and premature commentary around, as to be expected. However, the ethics and politics of artistic and theoretical practice to be pursued in this situation should oblige us to stay cautious and to intervene with care in the discussion. As one of JVC’s editors, Brooke Belisle, explains: ‘We are not looking for sensationalism, but rather, moments of reflection that: make connections between what’s happening now and the larger intellectual contexts that our readership shares; offer small ways to be reflective and to draw on tools we have and things we know instead of just feeling numb and overwhelmed; help serve as intellectual community for one another while we are isolated; support the work of being thoughtful and trying to find/make meaning…which is always a collective endeavour, even if we are forced to be apart.'” TH
Social Physical Distance Proximity Diagram
By Dean Kenning
The virus enters the host cells of bodies of individuals in a population through physical proximity. ‘Physical distancing’ needs to be operative at a social level for prevention and containment to be successful – that is the duty of the state. However, the official term ‘social distancing’ might suggest a distance from ‘the social’, rather than society-wide physical distancing. Social distance was not at all the experience of many who, in various ways, felt social closeness during lockdown. In the UK, the term ‘social distance’ could be aligned with Margaret Thatcher’s dictum ‘there is no such thing as society’. On 29 March, six days after lockdown, Boris Johnson, physically isolating with Covid-19, declared that ‘there is [after all!] such a thing as society’ – a fact epitomised, of course, by the NHS, essential care work, and social cooperation. Johnson’s epiphany might be viewed as a purely cynical, not to say hypocritical political exercise, or else as a rhetorical concession as to the bankruptcy – now plain for all to see – of the anti-social(ist), privatising individualism which Johnson’s party has upheld as holy writ.
Given all this there are interesting positions to be mapped with respect to relations of the social and the physical in connection with both distance and proximity. In respect to a state’s responsibilities during a viral pandemic, social distancing at an ideological level may force physical proximity amongst sections of the population by those who remain at a safe physical distance. Alternatively, social proximity at an ideological level may, thanks to those who must necessarily remain physically proximate in medical and care situations, protect people by enabling physical distance.
Dean Kenning is an artist and writer living in London.
May 29th, 2020, 02 / Rosa Mercedes
On the occasion of the film festival “Reconstructing Realities,” the Broadway Cinematheque in Hong Kong will show the film “How to live in FRG” (1990) from Harun Farocki.
The screening will take place on Saturday, July 11, 2:30 pm (local time) at the Goethe Institut Hong Kong.
Reconstructing Realities – A Film Programme to Celebrate the 50th Anniversary of the Berlinale Forum
The screening will be followed with a talk with Doreen Mende from the Harun Farocki Institut.
The talk will be public via Zoom. A link will follow shortly.
July 8th, 2020, HaFI
Avery F. Gordon, in an interview conducted by Katherine Hite and Daniela Jara in Memory Studies: “Non-participation is one modality of what I call being in-difference. Being in-difference is a political consciousness and a sensuous knowledge, a standpoint and a mindset for living on better terms than we’re offered, for living as if you had the necessity and the freedom to do so, for living in the acknowledgement that, despite the overwhelming power of all the systems of domination which are trying to kill us, they never quite become us. They are, as Cedric J Robinson used to say, only one condition of our existence or being. Running away, living apart, squatting, communing, feral trading, bartering, self-managed currencies, human, debt, labour, knowledge strikes, boycott, divestment, non-policing, throwing your shoe at an occupying president: the ways of non-participation in the given order of things are many, varied and hard to summarize. And they are taken up for a variety of reasons, including the failure or irrelevance of states and the US–European post–World War II social movement model.”
July 7th, 2020, Tom
Denise Ferreira da Silva via Canadian Art: “Visuality or rather visualizability—being available via social media and accessible through electronic gadgets—seems to have become the main (if not the sole) criterion for reality, which becomes crucial for the ethical-political demands for the protection of black lives, for state accountability and for justice. If that is so, the only way is through these conditions of representation. I mean, the creative move first takes the visualizable as it is, that is, as a twice removed re/composition (at the same time a live streaming, news reporting and documenting) of the scene of violence which only tells us that it happens. It exposes the excess that is the state’s use of total violence, of law enforcement as technique of racial subjugation, while simultaneously removing the black person (the father, the sister, the friend) out of the scene of violence and its visualization. It does so by restoring the dimensions of their existence that the camera cannot capture. That is, the creative move must protect (as an ethical gesture) the black person (keeping her obscurity) in the excess that is the very visualization of the scene of total violence.”
June 28th, 2020, Tom