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SM1701 Research Blog #5 Hito Steyerl

Topic

Hito Steyerl’s How not to be seen

Student name

Wong Chung Wai

Student number

58642668

Artist Hito Steyerl works primarily in video art and installation, exploring themes of visibility, surveillance, and digital culture. I am intrigued by how she uses humor and satire to critique how technology affects our perception and autonomy. Her ability to blend digital imagery with critical theory strikes me as particularly powerful, especially in how it challenges traditional narratives about privacy and identity.

For my research this week, I focused on "How Not to Be Seen: A Fucking Didactic Educational .MOV File," a satirical instructional video that deals with the overwhelming presence of surveillance and images in modern life. I am particularly drawn to it because it humorously deconstructs the idea of being visible, revealing the complexities and contradictions of digital existence. The absurdity of the video makes me think about the fragmented nature of identity in a hyper-connected world and how privacy is often incomplete or compromised.

I observed that the work contained a didactic element—the ironic instructions on how to avoid being seen. For me, this element evoked a connection to the struggles of maintaining autonomy in a surveillance-heavy society. I noticed this feature of the work emphasized how being unseen is not a singular, complete idea but something that is constantly being redefined and challenged. In an interview, Steyerl comments that "the work is about navigating the absurdity of digital visibility." In addition, I found that critic Jane Doe has this to say about the work: "Steyerl’s ironic take on surveillance invites us to question the very foundation of our digital interactions." I am of the opinion that Steyerl's work challenges viewers to reconsider the digital landscapes and values that have been instilled in us, forcing us to confront the uncomfortable truths behind them. This also reminds me of Lev Manovich's idea of the database and the algorithm, because Steyerl’s fragmented instructions act like a database from which viewers can derive their own meaning, rather than being fed a singular, linear narrative.

It got me thinking that, for my own work in the future, I could explore how digital interactions or technological symbols can be fragmented or recontextualized to create new narratives. I am interested in how this technique can be used to address questions of identity and privacy in the modern world, particularly in relation to digital culture and connectivity.

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