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short clip of propaganda We Live in Public

This week saw the movie We Live in Public, directed by Ondi Timoner (Interloper Films 2009 ). The film focuses on Josh Harris, a pioneer of what we now know as' live streaming on the Internet. Harris created the company in 1993 Jupiter, an online portal in which there were multiple channels television, several of them dedicated to different genres music. The portal collapsed in 2000, along with many others who were swept away by the dot.com disaster at that time. I confess that at that time I was one of those once in a while was connected to Jupiter, to hear and see, albeit rather figures were shadows semi-catatonic, and to all DJs and performers who appeared in the channels of this company. It was hard to listen to a piece of music or performance label in continuously, and it was impossible to see exactly what was happening in the channels of Jupiter, beyond a kind of shadow implied in successive frozen poses while The legend "buffering" appeared for long minutes between music segments. However, we can certainly consider Jupiter as one of the initiatives that later would lead us to what is now the network www.

Two of the most daring experiments, and more prophetic, as shown in the film, Josh Harris led, were the party / dystopian society Quiet and streaming We Live in Public . According to what Ondi Timoner documents, Quiet consisted of a social experiment / virtual in more than one hundred people came to live in a bunker in the city of New York, for 30 days, with cameras which recorded 24 hours a day what they did, from sleep to go to the bathroom. This experiment was cut early on first day of January 2000 by New York police after three weeks of continuous party in that drugs, guns, food, sex and, above all, the cameras were constant. The second experiment consisted in putting Harris on the Internet, streaming live through in their daily lives his girlfriend for six months.

Throughout the documentary is impossible not to think of MySpace, Facebook, YouTube and similar sites that have become part of everyday life for millions of people XXI century. The film makes us think, rather than perhaps any other film I've seen, how we live now necessarily in public. As Josh Harris says during the film, you do not have a website or have a page on Facebook: to communicate by email, go to the doctor, get a driver's license, get a credit card, pay our taxes, and practically run any activity characteristic of contemporary life, system unleashes 'profiles'.

Indeed, who among us has not felt a chill in the back when finished to send a message via webmail you get an announcement of something that relates to the content or the place of your message? This is a direct result of the system of 'profiles'. Who has not felt that suddenly your life is an open book when Facebook will suggest that you become friends with someone you had not been involved in more than one decade, but who definitely know?

The New York artist Brooke Singer has based many of his works on what she shows us is the contemporary methods of surveillance (see http://www.bsing.net/). For example, to one of your projects created a bar in which to pay the credit card and consumers could read on your receipt of the card a number of their own data from their farm numbers (SSN in the U.S.), until their date of birth and other information that are supposedly confidential.

Michel Foucault, through his analysis of the panopticon, and Paul Virilio, with its ideas of absolute dromología and monitoring are two theorists, such as cyberpunk and writers, certainly presaged our contemporary condition of life under continuous monitoring instruments: As the film suggests Ondi Timotes XXI century all and we all live in public.