(A)Live or Dead @COVID19: ensaio para futuros artigos

  • Milena Szafir
Keywords: Remote Art Teaching, Database Aesthetics, Visual Rhetoric, Surveillance, Pandemic


Neo-biopolitics, post-synopticon, the future is now from facial recognition to artificial intelligence: masked selfies under visualization (@maskvide), intermittent surveillance and control of Big Data, gazes, echolocation (echo ranging) and voice frequencies are captured through the non-mobilities to Batcaves (#datamask)… In this “new normal”, without an “artist’s house”, the Big Brother Brasil styles triumph: COVID-19 ‘will be solved’ only after each inhabitant, of the nations in the world, is properly “registered, stamped, evaluated, labeled” to be able to fly - “dead or alive”. Even though the survivors here in the Brazilian land are -during the current period of ‘magic balloon’s gang’- experiencing the everyday narcissistic live mirrors via multiple screens in real time as well as the LGPD (the law recently approved, generating innovations to the app terms to “I Agree”) -and here I come to the heart of the matter-, we are inserted into the living social contexts stood vis-a-vis the conditions of production of its time (GAFAM). Through YouTube we are vulnerable to the viral danger also in digital. Thus, the 21st century demonstrates how webTV is a (un)material trend of our days - the tip of the revolutionary iceberg put forwarded by Guattari in the 1970s or -there are always two sides to every story- the thin membrane of the society of the spectacle that walks in full swing crowning the representation f a supposed freedom of expression in home confinement... How to play with such concepts - (non)visible and ‘painless’ - when applied, nowadays, beyond the urban space? Therefore, the ongoing essay is designed in harmony to the mission of the intellectual (and / or educator) whose, in the face of the current (audio) visual paradigms, is not to report but to struggle; and again, like the learner, not anymore to play the spectator but as a participant to intervene actively in the artistic and technological operativities which ones appropriate of us; i.e. we must be truly the interactants in this game of imperfection full of glitches and transmission’s noise (of memory)! Discovery and use of the gestures [gestus] - methods of montage / editing / composition - in order to transform that procedure (often merely fashion to a human pseudo-virtualization) to a necessary discord between those remote environments on ubique dataveillance. As Benjamin had written against fascism in a letter addressed to Adorno : “[the] tendency alone is not enough”.


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Author Biography

Milena Szafir

Milena Szafir Coordenadora Projet’ares Audiovisuais desde 2013 na UFCE, onde é professora em composição das estéticas (neo-)cinematográficas e membro do coletivo Intervalos & Ritmos (ir!), em busca do media lab #MESA. Formada em processamento de dados (ETESP), é arquiteta, urbanista e designer pela FAUUSP. Publicou “ComunicaCidade: centro de São Paulo, sinédoque“ e “Um povo para Lula, parte#1” (2003), Manifesto Panóptico” (2004), “Vj’iar: web-vj’ing--cam” (2005), “CityMapping Performance at Everydayness Manifesto” (2006), “Manifesto webTV D.I.Y.” (2007), “Oneself Cellphone” (2008), “Towards A Cellphone Cinematography: a discussion about mobile telecommunication as a tracking particle or Foucault checkmated inside the widespread movies Batman, Elite Squad, Salve Geral” (2009), “YouToRemix” (2010), “Stream’engramas de uma revolução” (2016), “Let’s Besprechen: (On) Database Aesthetics Trial” (2018) e “Carta (a)Pós: dia#1 ou outro(s) vir(us)?” (2020), além de capítulos em livros, dossiês em revistas e artigos acadêmicos. Cocoordenou o Grand Challenging EuroITV (2010-2013) e, em 2011, recebeu o prêmio de carreira pelo Instituto Sérgio Motta. É doutora em Artes e Comunicação com a tese “Retóricas Audiovisuais 2.1: Ensino e Aprendizagem Compartilhada - Passado, Presente, Futuro ou Por uma Arqueologia-Cartografia da Montagem”. 

How to Cite
Szafir, M. (2020). (A)Live or Dead @COVID19: ensaio para futuros artigos. DAT Journal, 5(3), 263-287. https://doi.org/10.29147/dat.v5i3.271
Visual Assay