Thanks, Annie - i think the text is rough, and you know how I love, actually, 
to be connected online. It's compassion and intentionality in ourselves and our 
culture that I'm asking for. 

On Tue, 21 Jul 2020 15:03:30 +0200, Annie Abrahams via NetBehaviour 
<netbehaviour@lists.netbehaviour.org> wrote:
 

thanks Patrick

 

 

 


On Tue, Jul 21, 2020 at 2:44 PM Patrick Lichty <li...@voyd.com> wrote:




Agony and the Ecstasy: Net-hanging in the age of Covid



The era of Covid lockdown is Zoom-time. Although at the time of this writing, 
the crest of the wave is starting to pass, its impact is evident. In over three 
months of lockdown, stay at home, 24/7 Zoom culture has come to dominate global 
telepresent communications, standing in for ever-present cyber vernissages, 
online conferences, talks and visits. The need to work, communicate, and even 
socially function has necessitated the rise of platforms like Zoom and Adobe 
Connect, and what I have come to understand as platform politics and their 
neoliberal connotations.  Although places like The Well and John Perry Barlow’s 
Declaration of Cyberspace Independence call and were founded under the notion 
of cyberfreedom and fluid congregation outside of the agendas of capital, the 
Covid pandemic has created a scenario where the private sector has found 
tenterhooks into the foundations of institutional communications. This is not 
to say that Social Media does not do this, but one of the differences I want to 
allude to is the institution-in-itself (facebook) as opposed to platform as 
channel of communication for institutions. Unlike a public utility, Zoom, as 
well as others like Adobe Connect, and Facebook Rooms, and so on are portals in 
which institutions found a necessity for network that was not facilitated by a 
commons, but by corporations, and by agendas of maximizing connections and 
communications. These two effects(institutional adoption of private protocols 
[Galloway] and the necessity of a will-to-connect)  are the poles in which 
capital has pushed further into the control regimes of markets, networks, and 
political engineering as to where private interests further govern 
sociocultural concerns. It even got the UAE to release its national ban on VoIP 
communications. That isn;t so much about any particular country, but the effect 
that Zoom has had on global communication under the Covid crisis.



This isn’t the first time the idea of having online platforms be the lens for 
focusing social interaction. Second Life, with its inherently capitalist 
foundations, tried to tout itself as the 3D World Wide Web, almost like an 
analogy to the 3D Internet analogue in the Robert Longo movie, Johnny Mnemonic. 
 With the neoliberal dream of the Linden Dollar superceding John Perry Barlow’s 
Declaration of Cyberspace Independence, FOMO-driven corporations from Domino’s 
Pizza to Playboy flooded into the platform.  christian von borries, 
documentary, The Dubai in Me, imperfectly compares financial speculative 
evangelicalism between Second Life and the “Dubai Miracle”, much of which 
operated on the notion of rotating real estate speculation. For some time, this 
was reflected in Second Life, when the mythology of Chinese real estate trader 
Anshe Chung announced that she had made her first million dollars on virtual 
real estates.  However the differences between a foundation based on a 
technology (HTTP) and that based on a single-provider platform (Second Life) in 
that a provider often takes a majority of the profit, and that the upsurge of 
traffic caused multiple technical issues, caused most of those glittering 
dreams to collapse within 2-3 years. Another difference is that while the 
interaction with the World Wide Web is relatively simple Second Life required a 
relatively powerful machine and at least a couple days learning SL’s rather 
cumbersome interface. In interaction and commerce design, the rule is that the 
least friction yields the greatest returns.



But then, the socio(economic) frictionlessness is one of the biggest problems 
with platforms like Zoom, or Adobe Connect, or whatever flavor you mention.  In 
the artworld, I always saw the necessary friction that artists thought had to 
happen was exclusivity or access, to an event or an object.  But then, I had 
not inhabited Istanbul or Dubai, which are big enough cities with capital to 
support a contemporary cultural community, (and even Chelsea is similar), but 
with accessibility comes the expectation to access.  Once you are there and 
become part of the community, there are expectations to be met, places to be 
seen. And this is a crucial point – the demand to be seen. Further linkage to 
privilege in the case of Zoom is multilayered, from communities that wish to 
engage, and from the company, wishing to focus social capital through its 
portal.



What is important about this will-to-access is not that it is resultant from 
the community, it is resultant from the platform. The first layer of a 
demand-to-access is expectations to attend, but the other is that of the 
platform, and in the end, the platform is a cybernetic system that os a control 
apparatus.  Although Adobe Connect has also been adopted widely, the 
frictionlessness of the Zoom platform has allowed it to be quickly adopted by 
the institutional community, and without having a professional account, 
interactions are limited to 40 minutes.  This has a number of effects from 
further socioeconomic limits to access to further neoliberalization of 
communications.  The emergence of a solution in a panic event-space mitigates 
an acritical adoption in light of necessity. This means that Zoom, although 
possessing the least friction, is corporate, requires payment for the best 
experience, and still mitigates certain resources for optimum connection. And 
the notion of panic adoption has resulted in the institutionalization of Zoom 
as one de facto standard without full security or best practices development.  
There is a need, there has to be a solution, and the market supplies one, and 
it has to be adopted as soon as possible.



The other problem with post-COVID networked society is that the notion of 
access falls under the optical control regime of neoliberal capitalism.  What 
this means is that, as Sara Cook noted in the discussions surrounding the Sleep 
Mode exhibition at Somerset House, that internal documents by companies like 
Facebook consider sleep a challenge to their business model of attention 
optics. The show described sleep itself as a tactic against neoliberal 
infocapitalism’s need to consume and convert every possible resource into 
use-value. In another text, Event Horizons, I describe that even if sleep were 
to be conquered, there would be the Malthusian limit of the sidereal day 
itself. How do you multiply the cognitive load of the attention span of one 
human being once the physical limits of the system are met. Perhaps there are 
exotic solutions like parallel cognitive loading across multiple machines, or 
even more abstract metaphors likening the deterioration of attention to the 
evaporation of a black hole due to Hawking Radiation, but the reality is far 
more simple. A human being is simply not going to stay awake 24 hours a day to 
comment on your cat video, and taken to extremes, we simply cannot fulfill 
zoom’s Second Life’s, or whoever’s desire for us to be together constantly, 
forever public, forever panoptic.  It is an ontological equivalent to the 2008 
financial collapse – expectations for access, like capital productivity, 
continue to balloon until all methods to appease the machines collapse, 
mitigating solutionism.



It’s just not going to happen. 



Things have changed.  With the Coronavirus not going anywhere soon, and the 
automation of the labor-site, even if that labor is visibility, collapses into 
the home, institutions see no need to be entirely physical anymore, and like 
the “gig” economy, investiture in the physical space is no longer entirely 
necessary.  Therefore look for a more “hybrid” ontology.  Relating to New Media 
Art of the 1990’s, There are some parallels, when the network was the necessary 
channel for connection, then due to the small size of the community, now due to 
the necessity to distance.  But the frictions of infrastructural support are 
less with the privately funded model of Zoom.  In the neoliberal environment, 
when governments pull away from funding of infrastructures, favoring market 
politics, the ability to link capital to the network facilitates the platform. 
Period. Even incrementally, with minimal cost, this is a wringing out of the 
socioeconomic frame of need to solution, and Zoom life is the solution.

It’s a cost-benefit solution. Online portals like Zoom create less frictioned 
telepresence give access to more programmes, create more opportunity to 
interact by the screen. But on the other hand, there is the pressure to take 
ten classes a month, be at twenty vernissages, call ten friends, up your 
productivity tenfold – from your home. It’s a win-win. Actually, it’s more like 
The Matrix, where we are tied into our scopophilic pods, viewing and being 
viewed. Zoom as new Panopticon, regulate by the frictions of the platform, 
epidemiology, and socioeconomic politics. As I see the age of 60 on the 
horizon, I realize that the cost-benefit of being increasingly online has not 
always realized itself, and when I move back to America in 2021, I want to be 
truly “hybrid”, that is, more engaged with the real, like time with my family 
cooking, seeing nature, and being physically present with friends.  This is 
also ironic in that VR artists are becoming more obsessed with realism through 
programs like Substance and ultra high rez scans. 



But from this writer’s perspective, this is the frission that venturing closer 
to the event horizon of total access leads; the lure of connectedness while 
being paralyzed at the computer screen. This is the paradox, and a site of 
resistance, as it is neoliberal forces that encourage this effect, and as Sarah 
Cook suggested, perhaps sleep, managing willful disconnection and social 
intentionality are the things that will shape the post-Covid culture.


 

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