POV BETWEEN PORNOGRAPHY AND POLITICS
POV (Point of View) is not only an expression referring to a certain way of shooting porno movies, where “the man [woman] receiving sexual gratification holds the camera himself [herself] and aims it down at his [her] genitals and the partner/s who is/are pleasuring him [her]” (Wikipedia), avoiding the presence of a “separate camera crew filming the action” and, thus, creating a sense of continuity between the viewers and the images, as if they were embedded/embodied in them. From an aesthetic perspective – as strangely as it might sound – POV and the notion of the embodied image and its excessive proliferation has also become nowadays politically relevant, especially in relation to the anonymity and frozen inscrutability of CCTV (Close-Circuit TV) or Drone imaging as metaphors of a centralized (yet already mobile) panoptic gaze. The Arab Spring comes, and POV mobile phones images become as well the format people adopt to post online images of demonstrations and military abuses, thus activating their digital netizenship in the context of uprises and through the epistemology of an open distributed network of nodes. Slightly later, the Selfie as a technique of taking self portraits, especially with a hand-held mobile phone embedded camera, becomes widely popular, transforming a POV of someone over somebody/something into a POV of someone over himself. During the 2015 #Youstink Lebanese movement, rioters threw stones at the military with a rock in one hand and the phone pointed at themselves in the other. Meanwhile, POV starts slipping away from users‘ hands, thanks to the Selfie stick, an object (namely a stick) in between the mobile phone camera and the hands of the users, highlighting a gradual process of POV disembodiment, moving towards a CCTV-like image format.
Here, I would like to start a post-phenomenological cartography of the processes of abstraction of the POV (and of the body), in relation to the virtualization of the Gaze within the compulsive proliferation of image production, especially in the context of a crisis. The process of virtualization begins as a slippage of POV as an embodied relation between camera, user and audience, into FPV (First Person View), where POV is remoted wirelessly from the POS (Point of Shoot), and the user controls the device “from the driver or pilot’s view point” (Wikipedia). When FPV frames from a microscopic perspective, medical imaging manifests itself as a very peculiar form of gaze embodiment, whereas when it frames from a macroscopic perspective, CCTV and Drone imaging manifest themselves as last degrees of actualized gaze disembodiments. POV, FPV and CCTV are indeed the macro-regime of visibility, according to which they organize a post-phenomenology of the anthropo-technical mutation of the gaze, and of its online/offline circuiting.
GOOGLE GAZE CIRCUIT AND POV DISEMBODIMENT BETWEEN COLONIZATION AND SUBVERSION
According to this framework, Google Maps, Google Car and Google Glass are the metaphoric boundaries of the journey of the gaze out of the body. Google Maps satellite imaging visualizes a CCTV disembodied geographical Cartesian space; Google Car mimicries the possibility of an ubiquitous fully transparent, yet (mechanically) embodied FPV over that geographical space, while Google Glass turns Google Car FPV into a POV with CCTV traits. Here, the micro-standardized overlapping of CCTV, FPV and POV and, consequently, of geography over territory (G. Bateson, 1972), generates a “map that engenders the territory […] whose shreds are slowly rotting across the map. It is the real, and not the map, whose vestiges subsist here and there, in the deserts which are no longer those of the Empire but our own: the desert of the real itself” (J. Baudrillard, 1998). The Google gaze circuit is well visualized by the image of somebody taking a Selfie with his phone, while getting caught by a Google Car camera passing by exactly at the moment of the shooting, making the (POV) Selfie eventually available on Google Maps within the CCTV gaze of Google Satellites and the FPV gaze of Google Car, as in the mostly unconscious net art performance by Nasr Bitar, citizen of Ontario, Canada. Particularly, Google Glass gaze circuit emphasizes the shrinking of the space of abstraction related to the processes of POV disembodiment, now at few centimeters from the user’s retina. Here, POV and CCTV, along with territory and geography, collapse into each others. Here, geography starts generating territory, instead of the contrary, and the “abstraction is no longer that of the double, the mirror or the concept. Simulation is no longer that of a territory, a referential being or substance. It is the generation of models of a real without origin or reality: a hyperreal” (J. Baudrillard, 1998). POV and CCTV overlap also with the GIGA Selfie, a system patented in Australia allowing tourists to take (POV) Selfies remotely controlling a CCTV-like camera able to zoom from a CCTV-like frame to a POV-Selfie-like close-up of users‘ faces, making the human figure a measure of the surrounding space, and shrinking the “space of appearance” (A. Harendt, 1958) from the territory to the figure, thus implying a conservative anthropocentric Vitruvian idea of the relation between body and landscape. If in this Google gaze circuit types it is possible to sense the attempt of colonizing and normalizing (CCTVing) a perceptive region intrinsically autonomous (POVing), and therefore potentially subversive, similar overlapping can produce quite opposite results, and POV disembodiment can become a form of resistance. As in the case of the first hologram protest held in Madrid, Spain, opposing the law banning demonstrations outside the government buildings, and portraying a crowd forced to fully disembody in order to exercise its right to protest. Along the same line, on a symbolic level, people’s takeover of the national TV studios during the 1989 Romanian Revolution can also be read as a form of POV disembodiment from the streets into a CCTV/television-like format. Something similar happens with the Tahrir Cinema, where the protesters’ POVs uploaded online, documenting the Egyptian Revolution are downloaded and projected in a CCTV/cinema-mode in the same square they’ve been archived. More recently, Bryce Williams recorded with his phone his deadly gun shoots at two of his colleagues while on air, metaphorically warning about the unpredictable and un-domesticable nature of POVs. Bryce’s phone points at the cameraman and at the woman presenting, while approaching them, waiting the TV camera to frame her before shooting with his gun, and, thus, turning his POV into a CCTV/television-mode live feed.
POLITICS OF REGIMES OF VISIBILITY AND REGIMES OF TRUTH
It is worth noticing that each of these regimes of visibility brings along a regime of truth. It is indeed possible to think about the process of virtualization of the gaze, not only as the transformation of POV into CCTV, and of territory into geography, but also in relation to the degree of vérité of the respective regimes of visibility happening within this process. From the unter-testimony of CAT scan, MRI and laparoscopic videos documenting the inside of the body from a non-human scale, to the dubious testifying status of certain (POV) Selfies, to the objectifying gaze of CCTV cameras and Drone imaging, to the uber-testimony of an hologram protest, one of the recurrent elements of these regimes seems to be the actual difficulty of defining their vérité status. Maybe the becoming CCTV of the POV (and viceversa), and the becoming geography of territory (and viceversa) is at the base of the confusion between fiction and reality, and of the consequent state of hyperrealism mentioned above. Neda Agha-Soltan died in Tehran on 20 June 2009, killed by a sniper, while being recorded by a demonstrator’s mobile phone POV, staring in the moment of death straight at his camera. The image goes viral online and becomes the symbol of the revolution, while the Iranian authority calls it a mise en scène orchestrated by the CIA and the American press, questioning the documentary status of this image. The dubious vérité status of POV images affects Selfies as a form of reflexive POV as well. The ontological nature of the Selfie itself rises question about the documentary or fictional status of the image produced, because of the posing attitude of the subject staging the image, and because of the common practice of shooting tens of the same Selfie, then selecting and uploading just one. Selfies can act as a documentary POV with CCTV function, as in the case of Selfies taken by thieves, allowing the police to track and secure them, or, as in the case of Mastercard Selfie’s technology for payment procedure, identifying the buyer and securing the shopping. But the Selfie can also act as fictional mise en scène – as in the Twitter post showing a Palestinian youngster taking a Selfie, while running away from two Israeli cops, custom-made by Dam, a hip hop trio from Ramallah. The question about the realness of the image is also attributed to the Selfies Abdou Diouf took of his illegal border crossing from Africa to Europe, Selfies that, once uploaded on his Instagram page, work as a form of political net-activism, despite their potential CCTV status. Thus, Selfies seem a great example to show how a certain type of image (and gaze) can disembody by changing its function but not its phenomenological nature, highlighting a tension between the ontological and the epistemological status of the regimes of visibility, manifesting in our cartography. At the same time, the different regimes of visibility and the technology making them available are more and more fluid, so that every state of POV embodiment and disembodiment can turn into another one almost flawlessly. According to our cartography, Drone imaging is the last degree of POV disembodiment. Within the military and security field, Drone transforms CCTV cameras into mobile entities able to monitor (and eventually attack) the space around them from an aerial perspective. Now, think of the wearable drone selfie, a bracelet with an embedded camera that you can release on air to take a Selfie of you from a Drone perspective. Here, Drone imaging as convergency of CCTV and FPV becomes a Drony – basically a (POV) Selfie with a Drone POS (Point of Shoot). The turning into a Selfie of a Drone imaging is matched by its opposite, the turning into a Drone of a Selfie, as in the case of Buildering, “the act of climbing on the outside of buildings and other artificial structures” (Wikipedia), and – I would add – of taking (POV) Selfies on top of them, highlighting how the processes of POV disembodiment are simultaneous to those of CCTV (or Drone) embodiment. These processes can activate authoritarian politics, as much as subversive practice. Even though it is possible to see a pattern connecting POV disembodiment (or CCTV embodiment) to the risk of repressive politics (especially in relation to data mining and privacy), and one opposite pattern connecting POV embodiment to forms of resistance to these politics, it seems important to investigate how to inject subversive potentialities into the very same processes that normally tend to assume a political repressive connotation. Tahrir Cinema and Buildering detour the turning into CCTV of the POV, into a political practice of re-appropriation of the space, whereas the disembodiment of the crowd’s POV during the Spanish hologram protest has been a way to overcome the demonstration ban.
THE OFFLINE/ONLINE CIRCUITING OF THE GAZE BETWEEN CONJUNCTION AND CONNECTION
It is worth noticing that the processes of POV disembodiment can also be read as the Prometheic attempts of its re-embodiment over the Internet, as the excessive pornography available online proves to suggest, as much as the number of absurd online challenges (as the #firechallenge, or the #kyliejennerchallenge), where the internautes engage in extreme ways with their bodies, while taking Selfies. The regimes of visibility connected to the POV processes of abstraction can be observed under the lens of their online/offline circuiting, and POV disembodiment seems indeed to happen in parallel with another process, that of the Internet embodiment (IE), offering the opportunity of conceptualizing the Net not anymore as a simple interface, but rather as environment and behaviors (H. Steyerl, Too Much World: Is the Internet Dead?). According to this frame, we can look at the Selfies not only as the beginning of POV disembodiment, but also as a consequence of the Internet domestication of the gaze, and of its embodiment into offline behaviors, fully oriented to an uploading phase. The conjunctive as the offline modality of becoming-other and developing singularities by enhancing differences, is replaced by the connective, the functional interaction of elements of a given relationship, according to principles of similarities and compatibility (Bifo, 2011). The shrinking of the offline space of appearance seems indeed simultaneous to the opening of an online space of appearance – in fact, it is hard to give sense to the Selfies without thinking of their online uploading, confirming the offline behavioral nature of the nowadays Internet, and the ontological changing of the relation between reality and virtuality, territory and geography, offline and online. The colonization of the POV is indeed a process that happens in the offline/online circuiting of the gaze, and in the affordances (Gibson, 1977) offered by the military-entertainment complex (T. Lenoir, H. Lowood, Theaters of War, the Military-Entertainment Complex) – from front mobile camera to Dronies, and so forth. In this context, designing a cartography of the relation between the processes of virtualization of the gaze, their vérité statuses and their offline/online circulation seems important in order to investigate how to elaborate a strategy of resistance and of being-together, in the perspective of the overwhelming narcissism and ontological onanism manufactured by a repressive use of the technology available nowadays.
Publications:
Jean Baudrillard, Simulacres et simulation, Paris: Éd. Galilée, 1981.
Gregory Bateson, Steps to an Ecology of Mind, Chicago: University of Chicago Press, 1972.
Hanna Arendt, The Human Condition, Chicago: University of Chicago Press, 1958.
James J. Gibson, The Ecological Approach to Visual Perception, Boston: Houghton Mifflin, 1979.
Dan Getting et al., The Drone Primer: A Compendium Of The Key Issues, Center for the Study of the Drone: Bard College, 2014.
Franco Berardi Bifo, After the Future, Oakland: AK Press, 2011.
Online:
J. Butler, Bodies in Alliance and the Politics of the Street, Eipcp.net.
H. Steyerl, Too Much World: Is the Internet Dead?, e-flux.
P. Friedl, History in the Making, e-flux.
Tim Lenoir and Henry Lowood, Theaters of War. The Military-Entertainment Complex. Stanford.edu
https://en.wikipedia.org/wiki/Point_of_view_shot
https://en.wikipedia.org/wiki/First-person_view_(radio_control)
http://www.buzzfeed.com/deannye/selfie-on-street-view#.yhAo8WgoK
http://hyperallergic.com/194573/explore-a-surreal-performance-parody-of-google-street-view/
https://en.wikipedia.org/wiki/Vitruvian_Man
http://www.dailymail.co.uk/news/article-3038317/The-world-s-HOLOGRAM-protest-
http://edition.cnn.com/2015/04/12/europe/spain-hologram-protest/
https://www.google.com/culturalinstitute/u/0/exhibit/the-romanian-revolution-broadcast-live/wRsiAKoC?hl=en&position=30%2C80 http://www.telegraph.co.uk/news/worldnews/northamerica/usa/11826100/Bryce-Williams-profile-of-Virginia-news-gunman.html
https://en.wikipedia.org/wiki/CT_scan
https://en.wikipedia.org/wiki/Magnetic_resonance_imaging
https://en.wikipedia.org/wiki/Laparoscopy
http://www.thedailybeast.com/articles/2015/02/09/crime-scene-selfies-generally-a-bad-idea.html
http://emgn.com/entertainment/these-10-selfies-got-all-these-stupid-criminals-arrested-justice-served/10/
http://www.independent.co.uk/news/world/middle-east/palestinian-mans-selfie-while-running-away-
http://www.mirror.co.uk/news/world-news/desperate-migrant-uses-instagram-share-6185285
https://instagram.com/abdoudiouf1993/
https://en.wikipedia.org/wiki/Buildering
https://www.distractify.com/such-great-heights-1197777371.html
https://en.wikipedia.org/wiki/Fire_challenge
http://www.dailymail.co.uk/femail/article-3047484/Disturbing-new-Kylie-Jenner-challenge-sees-teens-suck-shot-glasses-blow-lips-double-size-disastrous-results.html
https://en.wikipedia.org/wiki/Affordance
Videos:
Google Glass ad:
https://www.youtube.com/watch?v=JSnB06um5r4
Bryce Williams:
https://www.youtube.com/watch?v=uKKWkCOnXE8
https://www.youtube.com/watch?v=VPMBiQX5Tx4
Neda Agha-Soltan:
https://www.youtube.com/watch?v=R1hkQtuwV38
Wearable Drone Selfie:
https://www.youtube.com/watch?v=5Pcosoqk3W4&feature=youtu.be
https://www.youtube.com/watch?v=rjqEAgINNWE&feature=youtu.be
October 24, 2015 at 12:57 pm
Dear Mitra Azar,
I do consider the topic of your research totally relevant and necessary. To map the blurred boundaries of surveillance and political activism through technical means, and to overcome the false idea that internet would be a non-physical battle field, is certainly very helpful to the purpose of your investigation of “how to elaborate a strategy of resistance and of being-together(…)”.
The examples you bring are also awesome to make clearer the complexity of the situation.
However, I miss a more precisely addressed question, for instance, what conditions and/or aspects enable/trigger the emergence of subjects (or POVs) engaged into a critical, political, activist acts?
Or, to what extent and how, talking through the technical means and their terminology perspective, we grasp what are the human rights being banned, and therefore get to know against what to resist?
Thank you for your inspiring text.
Best wishes and see you soon,
Graziele
LikeLike
October 29, 2015 at 9:15 am
Found this article engrossing, with a great narrative flow.
I love the complexity that builds up – would be interesting to diagram it somehow?
The Hito Steyerl reference is good to see in there, and I wondered if she might be brought in sooner with relation to the Romanian Revolution, which I think she uses as figure also?
re. “regime of truth” – I am really interested in the friction here between real and falsified. The doctored image, being in a sense an ‘ennunciation’ by the person who has doctored the image, and it is in the maleable-context of the internet (where authorship occluded), that the image ’speaks’ to people. Regime of Truth I thought in general might need to be clarified as a term
Another reference which might be useful would be the GoPro camera, which is also worn, and used for extreme challenges – also put on pets… there is a video one which is dropped from a plane into the middle of a rave and taken for a party. “Wandering Gaze”… https://www.youtube.com/watch?v=ldE2k-KXWow [but also having its own questionable relation to the regime of truth]
Because GoPros are somewhat indestructible, they have a very unsettling relation to POV I think, especially when they are dropped!
LikeLike
November 4, 2015 at 10:33 am
your oral presentation made me think of this great art installation from Documenta13 in Kassel (2012); you can check it out via this link http://premierartscene.com/magazine/rabih-mroue-interview/ which describes it a lot better than I would ever do.
LikeLike
November 4, 2015 at 10:12 pm
NOTES AFTER PRESENTATION
Graziele: Got lost in the terms and missed the crisis moment. How these terms can be a tool when acting in revolution?
Response: It’s about how people relate to technology in a political situation. The selfie happens because of the technology. The disembodiment of the POV (ex. Madrid) became a tool.
Geoff: What is at stake? Look into political subjectivity together with film theory. Maybe it’s about the politics of representation.
Response: Relating to the politics of representation I am looking into doing cartography of the gaze from the moving of the political embodiment subjectivity.
Elisavet: The POV in political unrest is also used to protect the identity of the person filming and turn it into the police.
Kristoffer: Look into the subjective point of view. Putting the viewer into the action is a cinematic convention. About the datafied image, images that are produced not to be seen by the human eye (ex. Artist Trevor Paglen). Question of power in a systemic gaze.
Response: Experimentation with POV movies. People couldn’t emphasize with the protagonist. Media studies focusing on the subject. Is there a universe if no one is looking at it? I want to focus on subjectivity.
Lyndsay: The point of view can be tricky. Maybe knowledge could be a thing to address. Embodiment shows what we know and disembodiment what we don’t know.
LikeLike
November 5, 2015 at 8:38 am
Hi Mitra, thanks for sharing your ideas. I was interested to hear the term anthropotechnical, and your thinking of pov as being colonized. To expand on my slightly rushed comment, I mentioned knowledge as a possible bridge based on your essay statement- ‘highlighting a tension between the ontological and the epistemological status of the regimes of visibility’. I thought perhaps this could suggest a tension between the embodied (selfie) image as relating to what we know, or think we know, and the disembodied gaze (cctv image) as representing what we cannot know.
LikeLike
November 5, 2015 at 2:26 pm
Hi Mitra, I am impressed by your work, and how your research project is gradually coming together. Your idea of applying cinema studies certainly opens new horizons, but the main challenge is of course to decide which are the most important – the scope of your project. Perhaps Geoff’s comment to your presentation is quite fruitful here.
You describe how an ontological problem turns into an epistemological problem.
“Maybe the becoming CCTV of the POV (and viceversa), and the becoming geography of territory (and viceversa) is at the base of the confusion between fiction and reality”
I was wondering what this ‘maybe’ implies for you? One could simply argue that this _is_ (_is not_) the case, but perhaps the confusion (beyond the yes/no dialectics) is also part of your point? At least the indeterminacy of these phenomena’s status seem to be important to you, and perhaps you need to find some references to contextualize this theoretically/philosophically? Similar “dis-embodied” productions can also be found in other area. Literature is one (think of Samuel Beckett’s writing), and it has been addressed by many how writing within itself contains this dis-embodiment (see e.g. Maurice Blanchot, or Derrida). Naturally, Bataille can also serve as a reference here, and of course Bifo (as you mention) may be used to relate it specifically to the political (that interests you). This is not to lead you astray into another area – perhaps there are other references that lie closer to you – but merely to stress a need for a theory here.
LikeLike
November 5, 2015 at 3:11 pm
Excellent subject – selfies and protest combine – to produce new kinds of visualities and political subjects – new visual regimes based on online/offline circulationism. POV becomes a kind of index to forms of power – but I am struggling to find the precise focus. It seems to be on new forms of sovereignty and new subjectivities that are constructed through fluid military-entertainment complexes. What is the connection to crisis (of representation/finance)? Maybe this helps the focus or to work out more closely what has changed from a politics of representation as articulated by 1970s film theory to current forms where new visualities are performed by machines and algorithms.
LikeLike
November 5, 2015 at 4:56 pm
Dear Mitra,
if you decide to keep using film theory to build you cartography, it might be also helpful to look at the documentary film theory (Bill Nichols, for instance). It seems more suitable to discuss the ‘crisis’ context.
Moreover, the brazilian collective/organisation I mentioned, which has been acting politically with mobile technologies and social media, is the Mídia Ninja
http://www.theguardian.com/world/2013/aug/29/brazil-ninja-reporters-stories-streets
(Unfortunately I did not find many links in english)
LikeLike
November 13, 2015 at 12:15 pm
hi Mitra, just wanted to check if you received my emails about stream text for our articles, and thoughts on props? cheers, lyndsay
LikeLike