The Deprivations of Privacy
"The emergence of society—the rise of housekeeping, its activities, problems, and organizational devices—from the shadowy interior of the household into the light of the public sphere, has not only blurred the old borderline between private and political, it has also changed almost beyond recognition the meaning of the two terms and their significance for the life of the individual and the citizen. Not only would we not agree with the Greeks that a life spent in the privacy of "one's own" (idion), outside the world of the common, is "idiotic" by definition, or with the Romans to whom privacy offered but a temporary refuge from the business of the res publica; we call private today a sphere of intimacy whose beginnings we may be able to trace back to late Roman, though hardly to any period of Greek antiquity, but whose peculiar manifoldness and variety were certainly unknown to any period prior to the modern age. "
-Hannah Arendt, The Human Condition
Here are the titles of some recent posts on the Deeplinks Blog, which is published by the Electronic Frontier Foundation, America's leading organization advocating for citizens' digital rights:
- Who's Tracking Your Reading Habits? An E-Book Buyer's Guide to Privacy, 2012 Edition
- Ninth Circuit Gives the A-OK for Warrantless Home Video Surveillance
- Attempt to Modernize Digital Privacy Law Passes the Senate Judiciary Committee
- NASA's Data Valdez: Thousands of Employees' Personal Information Compromised in Embarrassing Data Breach
- Don't Be a Petraeus: A Tutorial on Anonymous E-Mail Accounts
- ECPA and the Mire of DC Politics: We Shouldn't Have to Trade Video Privacy to Get Common Sense Protections of Our Email
- EFF to Supreme Court: Limit Release of Driver Info
- Do Not Track Update: Professor Peter Swire to Co-Chair W3C Tracking Protection Working Group
- Reform to Require Warrant for Private Online Messages Up for Vote, but Down on Privacy
- Jones Meant What It Said: EFF Urges Court to Stop Warrantless GPS Tracking
Privacy is far from the only issue addressed by the EFF, but this list does account for 10 out of 16 posts appearing on the Deeplinks Blog between November 21st and 29th of this year. And concerns about invasions of privacy surface repeatedly in regard to Facebook's data mining of user profiles and updates, Google tracking and analysis of search queries (not to mention their indiscriminate street view photography, monitoring of wifi signals, and use of gmail address books), and Apple's tracking of the whereabouts and movements of iPhone users (also done by Android and other mobile systems). Companies are known to monitor their employee's internet use, email, and some even demand access to their social media accounts. Law enforcement and other government agencies (foreign and domestic) seek access to citizens' email and text messages and records of websites visited and documents downloaded. Personal messages, photos, and videos are forwarded and distributed without permission. Sites like Wikileaks publish secret government and corporate documents. Hackers break into databases, steal information, take credit card numbers and banking information, and in the ultimate invasion of privacy, engage in identity theft.
As much as the modern understanding of privacy seems to be under assault on account of new media and digital technologies, it's also true that many of us readily reveal personal information via online profiles and posts, post our personal photographs and video recordings, divulge our location through Foursquare and social media status updates, enable GPS tracking on our mobile devices in order to take better advantage of various apps and services, enter credit and debit card numbers on websites assuming that they are secure, and treat email, instant messaging, and SMS as if they were absolutely inviolable channels of communication.
Privacy is being consumed. Online, our privacy is consumed by the advertising, marketing, and public relations industries, while we in turn are encouraged to serve ourselves up as personal brands (as befits cattle). But through social media, we ourselves also consume other people's private lives, perusing their profiles, attending to their status updates, looking through their photographs, listening to their podcasts, watching their uploaded videos. Online we participate in a great orgy of consumption, as personal and intimate details are freely exchanged. On television, we consume the privacy of a select few, but in the age of the internet, paralleling our online devotion to following the lives of ordinary people just like ourselves, we have the relatively new genre of reality TV, which serves us up real housewives and biggest losers, bachelors and bachelorettes, apprentices and survivors, amazing racers and American idols. We are cast in the role of Big Brother, but not in the Orwellian mode of surveillance in the service of social control, but rather in a trivialized form of peeping tom titillation, spying for its own sake, the pure pleasure of voyeurism as another instance of the consumption of privacy. It's a short step from ogling others to googling them.
There is nothing new about our consumption of private lives. What is new is the extent to which it is being carried out. We are in the process of fulfilling Andy Warhol's prophecy that in the future everyone will be famous, but only for fifteen minutes, or was it only for fifteen people? Without a doubt, fame and fandom are being leveled and democratized as never before, as the erosion of privacy that has long been the price of fame for celebrities has now been extended to everyone who has an online presence. We have long grown accustomed to consuming the privacy of famous individuals in the form of celebrity gossip distributed through online services such as TMZ, through television programming such as Entertainment Tonight, and through print media such as the supermarket tabloids and People magazine (not to mention the fact that all too often this type of content is featured by legitimate news media). Celebrity is a phenomenon that's older than television, but television's emphasis on the up-close and personal, the way that the small screen favors the close-up, lends itself to unveiling of intimate detail and expression. As much as he was an icon of hardcore broadcast journalism, Edward R. Murrow pioneered the format of bringing television cameras into the homes of celebrities in Person to Person, a program he hosted from 1953 to 1959. As television came to dominate the media environment of the late 20th century, the proliferating presence of cameras and microphones made private life all but impossible for celebrities. It is no accident that the term paparazzi traces its origins back to the same year that the Kennedy-Nixon debates signaled the beginning of image politics, 1960 (the term is derived from a character named Papparzo, a news photographer, from Federico Fellini's famous film, La Dolce Vita). Is it any accident that the synonym for television set is monitor, as television's basic function is the monitoring or surveillance of the environment?
But to be fair, while television, and before it radio, allowed audiences to view the outside world while remaining themselves unobserved, providing a kind of two-way mirror (aka a one-way window) on events, they also have constituted an intrusion of the outside world into private homes, and thereby contributed to the erosion of the private sphere. And long before the internet, the adoption of the telephone allowed strangers as well as friends and relatives to invade our privacy at any hour of the day or night, interrupting even the most intimate of activities (before the widespread use of answering machines, some referred to this phenomenon as telephonus interruptus).
Over the course of the 20th century, the increasing presence of cameras and microphones have subjected private life to increasingly greater public exposure, but more generally the wiring of the environment (the environment in effect wearing a wire) and the unimpeded flow of wireless transmissions permeating the very air that we breathe has placed privacy under increasing assault. In the aftermath of Watergate, Marshall McLuhan noted that on account of the electronic media, "the entire planet has become a whispering gallery, with a large portion of mankind engaged in making its living by keeping the rest of mankind under surveillance." McLuhan held Arendt in high esteem, and he incorporated Arendt's observation that the ancient Greeks viewed the private individual as an idiot, noting that modern ideas about privacy are an aberration, rather than a natural and universal human understanding about how we should live our lives.
It often comes as a revelation to individuals not familiar with the Constitution of the United States to learn that there is no specific articulation of a right to privacy in the Bill of Rights or elsewhere, and that privacy rights are the product of judicial interpretation of, for example, the Fourth Amendment protection against "unreasonable searches and seizures."
This absence is not an oversight on the part of the founders of the American republic, but rather a reflection of the fact that the modern concept of privacy was a novelty in the late 18th century. And as surprising as this may be, the ancient Greek understanding of private life typically comes as a shock. As Arendt goes on to explain:
In ancient feeling the privative trait of privacy, indicated in the word itself, was all-important; it meant literally a state of being deprived of something, and even of the highest and most human of man's capacities. A man who lived only a private life, who like the slave was not permitted to enter the public realm, or like the barbarian had chosen not to establish such a realm, was not fully human. We no longer think primarily of deprivation when we use the word "privacy," and this is partly due to the enormous enrichment of the private sphere through modern individualism.
The root meaning of privacy is the same as privative and deprived, as lacking a role in or access to the public arena. For Arendt, privacy provides the space for the individual's thoughtful contemplation, but must serve as a backstage region, to use Erving Goffman's dramaturgical metaphor, for the staging of public action, political activity involving collective deliberation and cooperation.
Underlying this is the essential point that the public and the private are interdependent, which is why "the barbarian," or member of a tribal society, has neither. Conceptions of both the public and the private are tied to the nascent notion of the individual, of identity separate from the group, which only began to form following the introduction of writing and the advent of literacy. Writing, as Eric Havelock put it, "separates the knower from the known," allowing for objective distance from one's tradition and tribe, and from one's own thoughts. This inward turn opens the door to the idea of the private individual, while the act of reading and writing itself require a degree of isolation. Readers read alone and apart from one another, even if they read the exact same text at the exact same time. Listeners constitute a group, a collectivity, as an audience (which is a singular noun, whereas readers are plural). A public then is dependent on the existence of the private individual, as the public is composed of individuals who govern themselves because they can think for themselves, speak their own minds, and deliberate as equals. Equality too is linked to writing, as it is with the introduction of codified law made possible by writing that we gain the idea that we are all equal in relation to the same set of rules and commandments. Public and private then have their roots in antiquity, but do not become fully formed until the modern era, following the introduction of the printing press, which also opened the door for the modern ideology of individualism.
As public and private have a common origin, so too are they commonly at risk due to the same forces. Politically, totalitarianism seeks to remove all of the barriers that make private life possible, at the same time that the public sphere is dismantled to create a single homogenous field of power through surveillance. Economically, in ancient Greece, the center of public life was the agora, which also served as the marketplace, but only a few years before Arendt published The Human Condition, the modern marketplace began to be referred to as the private sector, as corporations usurped the human invention of private identity, and have systemically undermined the last vestiges of the public sphere as they seek to create a single homogenous field of consumption through the manufacture of desire. We might well wonder why corporate executives for the most part have been allowed to escape the heavy media scrutiny that political leaders and other celebrities are subjected to? Why are they allowed to hold on to the privilege of privacy where other prominent (and not so prominent) members of society are not? Wouldn't we all be better off if they were held to the same standards of transparency now required of politicians and government officials?
Underlying the general blurring and dissolution of the private and the public that we have been experiencing is the electronic media environment, which has undermined, superseded, and shortcircuited the media environment associated with literacy and print. In place of individualism, which was based on the compartmentalization of private life kept separate from the public sphere, we have personalization, which involves providing open access to personal data, history, and activity, and the persona itself. In the absence of boundaries, honesty becomes of the highest value, but it's typically the honesty of self-disclosure, narcissistic self-revelation in the interests of self-promotion, as when celebrities go on talk shows to confess to personal problems as part of what is, or seems to be, an image revitalization strategy. Openness in communication is treasured, even though indiscriminate openness can be damaging rather than healing depending on the context and manner in which it is approached. Transparency is put forth as a basic principle for internet activity, and while awareness that we are being observed generally results in more ethical behavior than would otherwise occur, there are times when some amount of secrecy in politics is needed for successful negotiation.
Arendt teaches us that the modern concept of private and public is not immutable, and having changed before can and is changing again. And having been born the year before Arendt published The Human Condition, I am not entirely comfortable with the increasing loss of the distinction between the public and private, nor can I completely relate to the post-individualism of younger generations. But given our current trajectory, our options may be limited to living with surveillance carried out by powerful entities such as governments and corporations, or meeting surveillance with sousveillance, to use the term popularized by University of Toronto political scientist Ronald Deibert, with citizens pointing their cameras back at the cameras pointing at them. Or more generally, our best option may be to work for a transparent society, to use author David Brin's notion, where our personal sacrifice of privacy is compensated for by transparency on the part of the rich and powerful. If we must be deprived of the boundary between private life and public activity, and instead live and work in glass houses, let's make sure no one gets to gets to mirror theirs, just because they have a great deal of silver.
-Lance Strate
The Splintering of Culture
Earlier this month I attended a lecture by Matthias Lilienthal, the former artistic director of Hebbel am Ufer (HAU). HAU as it is affectionately known in Berlin is an organization with three performance spaces in the Kreuzberg district of Berlin, and is one of the largest, best funded, and risk-taking performance theatre complexes in the world. As one of the most important and innovative avant garde theatre directors, Lilienthal has "created, instigated and nourished many of the most important developments in theatre in recent decades," according to Tom Sellar of Yale who introduced him.
Lilienthal was interviewed after his talk by Gideon Lester, my exciting new colleague who now is director of the theatre program at Bard.
While Lilienthal is an artistic director and has a background in the theatre, he calls himself a "booker" of talent more than an artist or a curator. He is committed to theatre that has social and political impact. His mission is to constantly create friction. Friction means in his telling, "to be polemic against society and be an urban laboratory for the future." That said, Lilienthal insists that he remains an artist, someone who in his words cares most about the aesthetic experience his works bring about.
Lilienthal discussed a number of his past projects to explain what he means by a theatre of friction. One of the most famous and interesting is FOREIGNERS OUT! SCHLINGENSIEF'S CONTAINER, a performance, installation, and movie that he produced in collaboration with the filmmaker Christoph Schlingensief.
FOREIGNERS OUT! premiered in Vienna in the summer of 2000, at a time of great anti-immigrant sentiment in Austria—it was shortly after the xenophobic politician Jörg Haider came to power in Austria. Schlingensief and Lilienthal put two large containers in the public square in front of the Viennese Opera house and filled them with 15 asylum seekers. Above the asylum seekers, the artists hung a sign that read: "Foreigners Out." They then gave the Austrian population the opportunity to vote which foreigner to expel from the country. Over 10,000 Austrians voted every day and the first person sent home was a Nigerian woman.
Lilienthal speaks of a "hysterical longing for reality in today's theatre." Much of his work and the work he "books" mixes reality with theatre. His most famous performance piece, performed all over the world, is "X Wohnungen" or "X Apartments." Artists are asked to create artistic experiences that last up to ten minutes and take place in private apartments or houses. In one example that Lilienthal showed a clip from during his talk, audience members in groups of two are led into apartments of immigrants in Cologne where they are told to kneel in front of doors with keyholes. Through the keyholes they watch a Muslim woman in a burka and hijab strip naked and recline on a couch. They are then interrupted, given tea and told to go out.
Lilienthal explains that "we are playing a private reality, with voyeurism and with exhibitionism." His participatory performance art is "a kind of playful treatment of reality. You are playing with prejudgments against migrants. You are playing with your own voyeurism." The effort is partly to create discussions about Islam, religion, and sexuality. But it above all, in his words, to "to bring together experiences of reality."
Lilienthal was quite critical of the New York art scene, arguing that NYC artists are too commercial and that there is no meaningful artistic forum in the U.S. as there is in Germany. His point is that his HAU stages have, in his telling, become the center of German and European art worlds, presenting all the most interesting and most important artists from around the world under a single umbrella. He lamented the fact that there was no similarly dominant and unifying artistic space in NY or in the U.S. New York, he said provocatively, in the East Village, is a provincial state.
Lester asked Lilienthal what would he have done in NYC had he accepted a job here? He answered, (I am paraphrasing here),"I would have presented art that offers a polemic against society. I would like everyone to know me and then I would have been... perhaps they would kill me after a year."
There is something both noble and anachronistic in Lilienthal's Socratic dream to create art so full of friction and power that he would be killed for it. It is a noble dream because it imagines that art, like philosophy, might still have the power and importance to be seen as a threat to the state or the society. It is anachronistic because art and philosophy have long since lost such centrality.
When I asked Lilienthal about this, his answer was that it was different in Berlin, where the arts are more central and given more public financing and public attention. But I don't accept the argument that the arts are so much more important in Berlin than in NYC. In Berlin, as everywhere today, the intellectual world is just no longer governed by a unified aesthetic or a single dominant medium. There is a mass culture, but the premise of the mass culture is consumerism. Everybody buys what they want and art connoisseurs consume what they like. Most intellectuals and educated people now consume art and news that is hardly distinguishable from middle or low-brow tastes; indeed, the distinction between high and low is now illegitimate. But more important even than that, is the fact that those who do like the best art or best philosophy or best theatre or the best philosophy do not agree on what the "best" is.
One sees this fracturing of culture everywhere. The New York Times was, for a period of time, the arbiter of what mattered in the United States. That is no longer the case and has not been so for decades. It is not the Internet that brought about the factionalization of cultural and political opinion, but, on the contrary, the loss of any single or dominant opinion made the cacophony of voices and platforms on the Internet appealing and powerful.
Similarly, philosophy is broken into analytic and continental schools, and within each there are esoteric sub-schools so specialized that advanced papers and thinking can be read and understood by only dozens of people around the world. The same fission occurs in literature and art as well. Who now feels the need to read all the books profiled in the NY Times Book Review or the New York Review of Books? The selection criteria are ever more arbitrary and there are no longer any acknowledged gateways to culture.
There are, of course, still important artists and writers, but they appeal to ever-more specialized and localized crowds of followers. Lilienthal's dream of a unified artistic world with a single influential cultural world is long gone. And this is true in Berlin as well as in NYC. We will never again have a situation where the chattering classes are all reading the same books and seeing the same shows. The culture is simply too diffuse and differentiated and democratized. There are no measures of quality that are widely accepted. So what we have are simply sub-groups and sub-genres and sub-cultures.
A version of this argument is made by Peter Sloterdijk in his essay Themes from the Human Zoo. Sloterdijk writes:
Because of the formation of mass culture through the media—radio in the First World War and television after 1945, and even more through the contemporary web revolution—the coexistence of people in the present societies has been established on new foundations. These are, as it can uncontrovertibly be shown, clearly post-literary, post-epistolary, and thus post-humanistic. Anyone who thinks the prefix `post' in this formulation is too dramatic can replace it with the adverb `marginal'. Thus our thesis: modern societies can produce their political and cultural synthesis only marginally through literary, letter-writing, humanistic media. Of course, that does not mean that literature has come to an end, but it has split itself off and become a sui generis subculture, and the days of its value as bearer of the national spirit have passed. The social synthesis is no longer—and is no longer seen to be—primarily a matter of books and letters. New means of political-cultural telecommunication have come into prominence, which have restricted the pattern of script-born friendship to a limited number of people. The period when modern humanism was the model for schooling and education has passed, because it is no longer possible to retain the illusion that political and economic structures could be organized on the amiable model of literary societies.
What Sloterdijk rightly sees is that literate means of cultural analysis have lost their once-dominant place in the social and political formation of society. Books and theatre and artworks have been replaced by mass entertainments and diversions, so that literate works are relegated to sub-genres of importance only to their particular fans and followers. Art and philosophy, therefore, become socially and politically marginal.
Instead of seeking to bring back a unified culture of art in which artists matter to the social and political worlds, as Lilienthal dreams, it would be more radical and more honest to admit that we live today in a world in which those who make art, write literature, and think philosophy matter ever less. To think the challenges of doing art and thinking in a world immune to the charms of art and thought is the challenge we are faced with today.
Matthias Lilienthal's talk is fascinating and, as you can see, provocative, which is justification enough to spend one hour this weekend watching him. Thanks to Theatre Magazine for posting the video of the talk. Here is your weekend read.
-RB
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