Performance Research
A Journal of the Performing Arts
ISSN: 1352-8165 (Print) 1469-9990 (Online) Journal homepage: www.tandfonline.com/journals/rprs20
Seeping Out
The diminishment of the subject in Hito Steyerl’s How Not to Be Seen
Sebastian Althoff
To cite this article: Sebastian Althoff (2019) Seeping Out, Performance Research, 24:7, 92-98,
DOI: 10.1080/13528165.2019.1717871
To link to this article: https://doi.org/10.1080/13528165.2019.1717871
Published online: 17 Feb 2020.
Submit your article to this journal
Article views: 804
View related articles
View Crossmark data
Citing articles: 1 View citing articles
Full Terms & Conditions of access and use can be found at
https://www.tandfonline.com/action/journalInformation?journalCode=rprs20
■ Hito Steyerl How Not to Be
Seen: A Fucking Didactic
Educational .MOV File, 2013.
HD video, single screen in
architectural environment,
15 minutes, 52 seconds.
Images CC 4.0 Hito Steyerl.
Image courtesy of the Artist,
Andrew Kreps Gallery, New
York, and Esther Schipper,
Berlin
Seeping Out
The diminishment of the subject in Hito Steyerl’s
How Not to Be Seen
S E B A S T I A N A LT H O F F
Lesson III of Hito Steyerl’s How Not to Be Seen. pixels dissolve like a drop in the ocean when
A fucking didactic educational .MOV file (2013) the higher resolution saturates each inch with
begins with the artist covering her face in front millions of pixels. When resolution determines
of a green screen with green paint. While the visibility, as the voice tells us in How Not to Be
background shows through, a voice-over teaches Seen, surveillance is countered by dissolution,
the viewer seven possibilities of becoming by becoming a picture and merging with a world
a picture. Possibilities include camouflage, of images.
mimicry, dressing up or masking. While the video The diminishment of the subject thus imagined
zooms into Google Earth, a pixel-based resolution – hiding, disappearing, instead of actively
target appears and a computer-generated voice resisting – is in stark contrast to the kind of
1
Consider, for instance,
a project by the Berlin- asserts that to become invisible, you have to strategies currently popular with regard to Big
based group Tactical Tech become smaller or equal to one pixel. In the next Data practices. I understand Big Data in
called Me and My Shadow
that runs under the slogan shot, performers take this suggestion literally. accordance with Mark Andrejevic and Kelly Gates,
‘Take Control of Your Data’ Emerging from the resolution target wearing grey, as ‘both the unprecedented size of contemporary
(Me and My Shadow 2016).
They propose among other white and black cubes on their heads, they imitate databases and the emerging techniques for
things a data detox, an pixels. They imagine the ability to dissolve into making sense of them’ (Andrejevic and Gates
eight-day course to gain
a ‘more in-control digital
the image like a single pixel dissolves into the 2014: 186). Strategies reacting to these practices
self’ by learning how to use sea of pixels that is high resolution. Consider very often revolve around and rely upon the
Facebook, Google and apps
safely, by explaining what
moving from a low-resolution image to a high- subject. It is the subject that is supposedly
profiling and online definition (HD) wonderland: While before the harmed by a breach of privacy, that loses control
trackers are and how to
protect your privacy (Why
different pixels can be clearly distinguished by over their data and that needs to be educated and
detox? 2017). their typical square shape, in the HD image the put back in charge.1
92 PERFORMANCE RESEARCH 24·7 : pp.92-98 ISSN 1352-8165 print/1469-9990 online
http: //dx.doi.org/10.1080/13528165.2019.1717871 © 2020 Informa UK Limited, trading as Taylor & Francis Group
How might we then explain what is happening taking up the injunction to ‘lose your mother’.
in Steyerl’s work? One of the most explicit For Halberstam, the mother is the name of
proposals for the diminishment of the subject tradition, of passing on knowledge and customs
can be found in Jack Halberstam’s Shadow across generations from mother to daughter. To
Feminism. Halberstam develops a strategy that lose one’s mother – or the mother–daughter bond
is grounded in refusal to transfer traditions and – might thus also mean a refusal to be a medium
thereby systems of oppression. But in the digital of transition, a refusal to keep up traditions and
milieu in which transition works differently, even a logic of Oedipal succession that would see the
refusal produces information and opting-out is daughter become a mother herself.
not always a viable option or possibility. While in Halberstam references two novels in which the
Halberstam’s text the diminishment is a negation mother–daughter relation plays an important
to become a medium or a transfer point, Steyerl’s role: Autobiography of My Mother (1996) by
work can be read as the affirmation of becoming Jamaica Kincaid and The Piano Teacher (1988)
(nothing but) a medium. Therefore, Shadow by Elfriede Jelinek. In both, the protagonist
Feminism functions here as a contrast against refuses to become a medium for reproduction. In
which the strategy in How Not to Be Seen can Kincaid’s novel, the protagonist, Xuela, refuses
be discussed, a strategy of becoming pixel or intimacy and family. She aborts her pregnancy
a picture and thus not content but medium, and rather ‘inhabit[s] completely the space of
fostering escape instead of defiance. By first her absent Carib mother’ who died at childbirth
tracing the strategy in Shadow Feminism and its (132). Being born into a colonial system that her
inapplicability to Big Data analytics, I argue that half-Scottish, half-Caribbean father is complicit
we can in comparison evaluate the strategy in in (he is a corrupt police officer), continuing
How Not to Be Seen as no longer a refusal but the her family tree would perpetuate this system.
possibility to seep out, to become mobile and fluid Halberstam summarizes:
and thus to circulate. This finally resonates with Where a colonized woman bears a child and passes on
Wendy Hui Kyong Chun and Sarah Friedland’s her legacy to that child, Kincaid insists, the colonial
‘Habits of leaking: Of sluts and network cards’ project can spread virus-like from one generation to
(2015) and their defence of circulation and the the next. Refusing to operate as the transfer point
right to be vulnerable online against a critique for transgenerational colonization, Xuela inhabits
that they equate with ‘slut-shaming’, that is, another kind of feminism, again a feminism that does
blaming the user that is presumably too open. not resist through an active war on colonialism, but
a mode of femininity that self-destructs and in doing
so brings the edifice of colonial rule down one brick at
SHADOW FEMINISM a time. (Halberstam 2011: 133)
In Shadow Feminism, Jack Halberstam offers one Proceeding to the Piano Teacher, it is no
of the most outspoken strategies set against longer about refusing to be a mother, but a self-
the demand for an in-control, educated subject. destruction that interrupts the passing-on
Published as a chapter in The Queer Art of from mother to daughter. We meet Erika Kohut,
Failure, Halberstam discusses a feminism not a piano teacher who lives with her mother. With
bound by common tropes such as freedom and the father cast out (he died after being admitted
autonomy but ‘grounded in negation, refusal, to an institution), mother and daughter form
passivity, absence, and silence’ (2011: 124). a tight, suffocating bond. Each evening the mother
Shadow Feminism points out that the forms of anxiously watches the clock for her daughter
doing politics are severally limited if these can coming home, awaiting the key in the door even
only be thought within the restricted framework before Erika could possibly arrive. If Erika is late
of an active subject. It consequently calls for the or spends too much on dresses she never wears,
unravelling of the subject and a refusal of being intense fights erupt, in which the mother throws
‘where being has already been defined in terms blame and Erika retaliates with pulling the
of a self-activating, self-knowing, liberal subject’ mother’s hair out. Eventually, they settle on the
(126). Halberstam commences his argument by couch to watch TV before sleeping in the same bed.
A LT H O F F : S E E P I N G O U T 93
based on the idea of refusal, such a refusal
and opting out are not readily available in the
context of the digital milieu. As Yuk Hui writes,
the digital milieu is ‘a ubiquitous milieu from
which we cannot escape’ (2012: 381). In a system
based on people producing data unintentionally
while texting with their friends, looking for
a restaurant or their way to the nearest bus stop
or playing a game on their phone, refusal is itself
information. Netflix or Google, for example, also
account for the suggestions not clicked on and
not looked at. As Tung-Hui Hu writes, ‘[e]ven
a user’s refusal to participate has become a form
of feedback’ (2017: 340f.). Furthermore, avoiding
producing data might be flagged as suspicious
To Halberstam, this is not just a singular
and may give rise to an even greater surveillance.
situation but the reiteration of a history of
Second, Shadow Feminism is written with
claustrophobic nationalism, of bitterness and
regards to a system that has the subject at its
resentment. The classical music Erika teaches is
centre. Halberstam focuses especially on the
thus also a stand-in for high-culture and a fantasy
transition happening within the mother–daughter
for Austrian cultural superiority. Although that
bond, that is, the passing-on of traditions and
ship has most likely long sailed, her mother still
costumes by the mother to the daughter. However,
dreams of her daughter becoming a successful
Big Data predictive analytics relies not on the
pianist. The violence that Erika directs against her
individual but on similarities between users and
own body throughout the novel (she, for instance,
thus decentres or circumvents the subject. This
cuts herself with a razor blade or commands
is especially evident in recommendations based
to be abused by a student of hers with whom
on so-called collaborative filtering. In contrast
Erika enters a sexual relationship) is then to
to content-based filtering, it does not rely on
Halberstam a refusal to perpetuate this history.
knowledge of the objects that a user previously
Thus, the end of the novel – Erika stabs herself
engaged with to recommend similar objects but
with a knife – is interpreted as
bases recommendations on the likeness to others.
not trying to kill herself exactly but to continue to
Facebook.com, Amazon.com and Google.com, among
chip away at the part of her that remains Austrian,
other sites, mine user data not simply to identify
complicit, fascist, and conforming. Erika’s passivity
unique users but also, and most importantly, to see
is a way of refusing to be a channel for a persistent
how their likes and so on coincide with those of
strain of fascist nationalism, and her masochism
others. Collaborative filtering algorithms developed
or self-violation indicates her desire to kill within by Netflix.com and Amazon.com to recommend
herself the versions of fascism that are folded into purchases and classify users exemplify this, for they
being – through taste, through emotional responses, analyse and collect data in ways that suspend the
through love of country, love of music, love of her difference between the individual and collective
mother. (Halberstam 2011: 135) statistical body, even as they respect and insist on this
This refusal to be a channel for the transition difference by providing users with individual logins
and pages optimized for them (Chun 2016: 119).
of a toxic system we might call with Lee Edelman
a strategy to create ‘an impasse in the passage Collaborative filtering works according to the
to the future’ (2004: 33). If a system requires classic Amazon phrase: ‘Customers who bought
the subject as a medium for its repetition, the this article also bought …’, building on the
diminishment of the subject is a refusal to be such assumption that similar people act similarly and
a medium, causing a blockage. like similar things. Chun locates this assumption
However, this strategy runs into problems if in the concept of homophily, which by focusing on
transferred to the context of Big Data predictive supposedly ‘natural’ and ‘voluntary’ segregation
analytics. For one, while Shadow Feminism is disregards the structural and institutional
94 P E R F O R M A N C E R E S E A R C H 24·7 : O N D I S A P P E A R A N C E
background that is marked most prevalent by With the subject not in the centre, how can
classism, racism and practices such as redlining. a strategy of diminishment, of self-destruction
In the canonical textbook Networks, Markets or the dissolution of the subject be adapted
and Crowds, for instance, the economist David for the digital milieu? In the following, I argue
Easley and the computer scientist Jon Kleinberg that rather than a refusal, in the context of
reference the ‘Schelling Model’ (2010: 108). This Big Data the diminishment of the subject
model assumes an originally random distribution creates the possibility to circulate, to become
of two different types of agents. Each agent mobile and thus to seep out of the segregated
wishes to have at least one other agent of the ‘neighbourhoods’.
same type as a neighbour and can move freely
within the model. The model now shows that this
S E E P I N G O U T: C I RC U L AT I O N A N D
condition alone is sufficient for a clear tendency
SLUTTINESS
towards a segregated neighbourhood to emerge
just a few steps later, that is, there is no need In the text ‘A thing like you and me’ (2012a), Hito
for an explicit rejection of the other but only for Steyerl mirrors the concern that Halberstam
a slight preference for the same. As mentioned, raises about the limitations of a politics that is
there is of course no original situation of random bound to an active, liberal subject. As Steyerl
distribution. But in collaborative filtering, this writes, emancipation is conceived of in terms
‘voluntary’ and ‘natural’ segregation now offers of the subject that gains representation and
the possibility to arrange users into an order: visibility, while being an object is considered to
This history has been erased in the current form of be unfree, deprived of autonomy and sovereignty.
network science, in which homophily has moved Against these limitations, Steyerl proposes to
[from] problem to solution. In the move from become an object, indeed to become an image
‘representation’ to ‘model,’ homophily is no longer that can be reproduced, multiplied and copied:
something to be accounted for, but rather something
But as the struggle to become a subject became mired
that ‘naturally’ accounts for and justifies persistence
in its own contradictions, a different possibility
of inequality within facially equal systems. (Chun
emerged. How about siding with the object for
2018: 79)
a change? Why not affirm it? Why not be a thing?
In theoretically flat and diffuse networks, An object without a subject? A thing among other
things? (Steyerl 2012a: 50)
homophily thus draws boundaries by comparing
data from individuals and combining them with Siding with the object, becoming image and
others. Categorizations therefore depend not only dissolving into a world of images is also the
on one’s own actions, but also on the actions of theme of her work How Not to Be Seen. A fucking
‘neighbours’ in a profile. Big Data analyses thus didactic educational .MOV file (2013). The work is
do not function by recognizing the uniqueness set up as an educational video divided into five
of individuals, but by segregating users into lessons. The lessons are called, ‘Lesson I: How to
‘neighbourhoods’.
Rather than the figure of the mother as the
figure of transition – a singular, clearly defined
bond from one to one – in Big Data analyses,
passing-on thus occurs through users who
are alike. The transition is non-linear and
the refusal to be a medium therefore can no
longer cause blockages as it was envisioned in
Shadow Feminism. The self is only a part of the
neighbourhood, not an essential channel or
transfer point. Correlations are not based on
individual stories and actions, but on the stories
and actions ‘of others “like” him or her’ (Chun
2018: 75).
A LT H O F F : S E E P I N G O U T 95
make something invisible for a camera’, ‘Lesson protecting their privacy by covering themselves,
II: How to be invisible in plain sight’, ‘Lesson III: but dissolve into a milieu made of pictures by
How to become invisible by becoming a picture’, becoming pixels.
‘Lesson IV: How to be invisible by disappearing’ What do we do with this dissolution? If it
and ‘Lesson V: How to become invisible by is neither a refusal nor a blockage, what then
merging into a world made of pictures’. The video comes from becoming pixels or an image? To
was shot in front of a green screen as well as in answer this, we have to advance to the next
front of a decommissioned resolution target in lessons. Continuing to Lesson IV and V allows
the Californian desert, that is, a large asphalt us to read the imitation of pixels as a seeping
surface with painted white stripes installed in the out of neighbourhoods. It is a participation in
1950s and 1960s by the US Airforce to calibrate a circulation that is set against the segregation of
aerial photographs and videos. Sequences also Big Data predictive analytics.
include images from Google Earth, focusing The fourth lesson opens with the bird’s-
especially on a different, pixel-based resolution eye view of a 3D animated building, the kind
target with one black and two white squares, architectural offices use for presentations. The
and 3D animations that recall architectural video moves along the different sections of the
promotional material to illustrate the model of animated building: the entrance gate, the ground
a building, including not just the architecture but floor or the guest lounge. We follow a car driving
half-transparent, ghostly people moving around into the building complex, passing several gates,
in them. while an inserted text promises: ‘Safe and Secure:
Especially in the third lesson discussed above, Gated community with multiple tier security’.
the contrast between Steyerl’s work and Shadow Similar to Chun, this work evokes the notion of
Feminism is evident. Halberstam introduces the segregated neighbourhoods.
diminishment of the subject so as to impede The animation is populated by ghostly, half-
the perpetuation of a system, refusing to be the transparent people, proxies for future visitors and
means for the transition of tradition exemplified inhabitants. Spread in between, the performers
by the mother–daughter bond. But in a situation with the pixel cubes appear alongside others
in which the transition is no longer dependent who cover themselves with a greenish cloak that
on the passing-on of subject to subject, How Not lets the background shine through. They join the
to Be Seen relies on the diminishment in order ghostly people on the sun deck or by the pool
to circulate rather than to create blockades. The or move one behind the other in a 3D animated
dissolution in How Not to Be Seen is a becoming cinema with Ice Age playing on the screen. Steyerl
rather than rejecting to become a medium, herself appears again, this time not applying
turning into an image herself. Imitating pixels, green paint on her face but being draped in the
Steyerl and the performers do not become the greenish cloak.
content of the picture but part of its material; the The story of the gated community continues in
components of surveillance become the means for the fifth lesson when, set to the song ‘When Will
the avoidance of surveillance. I See You Again’ by The Three Degrees (1974), the
It is important to note that there remains no ghostly people suddenly double and emerge from
‘real’ subject behind the image. Steyerl accounts the screen to seep out into the documentary-style
that the title of her work pays homage to a sketch images that have in the meantime replaced the
by Monty Python (Lissoni 2015). In the sketch, 3D animation. It is this moment, when the proxies
we see landscapes, which seem devoid of people. leave the gated community, no longer bound to
Asked to stand up from off-screen, persons the animation, which seems essential to me. Joint
appear behind bushes, only to be shot and killed by the cloaked performers, it accelerates into an
(thus demonstrating the value of not being uncontrolled circulation in which different kinds
seen). In the Educational .MOV file, however, of images are overlaid and on the screen atop
the performers do not simply hide behind an a blurry background a kind of stage direction
object, but become an object themselves. They reads, ‘happy pixels hop off into low resolution,
do not secure their own stability as a subject, gif loop!’ Instead of creating impasses or
96 P E R F O R M A N C E R E S E A R C H 24·7 : O N D I S A P P E A R A N C E
blockages, here we see a dissolution that aims at of accountability. Chun and Friedland argue that
travelling lighter and faster. It is an escape rather the very functionality of networks relies on their
than a refusal, or if it is a refusal, it is a refusal by openness and it is only through institutions
escape. An escape, however, not from the milieu such as Facebook that borders between private
(Hui after all deemed that impossible) but an and public are drawn within these networks,
escape into the milieu. borders that then make the breach of them, that
We can see similar themes in Steyerl’s written is, leaks, feel violent. The securitization thus
works, which connect deeply with her artistic introduces the very harm it seeks to prevent and
engagement. As already mentioned, in How Not it is only through the establishment of borders
to Be Seen we can recognize the becoming object that leaks are perceived as a violation of the
proposed by ‘A thing like you and me’. However, subject, a violation of personal rights and the
we might also recall ‘In defense of the poor image’ personal sphere.
(2012b), in which Steyerl imagines ‘another To state it as baldly as possible: attempts to make
form of value [of the image] defined by velocity, networks seem intimate and thus safe put us at risk.
intensity, and spread. Poor images are poor Attempts to cover over the constant exchange of
because they are heavily compressed and travel information that is the network make us vulnerable.
quickly. They lose matter and gain speed’ (Steyerl What is even more insidious and troubling, however:
2012b: 41). In How Not to Be Seen, the performers these attempts to make the network more private,
themselves take up the lightness of losing matter which in fact make it more dangerous, also place the
blame for inevitable transgressions and leakages at
and gaining speed, of circulating and dispersing
the feet of the users, in particular, sluts (Chun and
so as to leave the structure required for Big Data Friedland 2015: 8).
predictive analytics.
Such a strategy of increased circulation, of Chun and Friedland argue that the blaming of
seeping out and becoming mobile, resonates the self-exposing user is another form of slut-
with ‘Habits of leaking’, co-written by Chun and shaming. In a discourse in which the language
Sarah Friedland (2015). In the text, they oppose of data activist is aligned with the language used
the increased securitization of the web that is by the National Security Agency (NSA) – both
exemplified, for instance, by the expansion of demand security, closed borders and freedom of
Facebook as the means of authentication to other leaks to keep you safe – being public rather than
websites as well as their real-name policy and private online is thus equated to being slutty,
logic of ‘friends’ that is supposed to create a space engendering a similar kind of public scrutiny.
A LT H O F F : S E E P I N G O U T 97
In the article, Chun and Friedland trace how – the segregation into neighbourhoods. It is an
this discourse is closely tied to notions of female escape into the circulation of the digital milieu
virtue and the risk to this virtue by exposure. that is closed to users but open to pictures.
Female virtue ‘positions ideal female sexuality
as contained, private, and invisible’ (9), thus that REFERENCES
circulation alone already spoils this virtue. While Andrejevic, Mark and Gates, Kelly (2014) ‘Big data
in the beginning of the Internet the risk was surveillance: Introduction’, Surveillance and Society 12(2):
185–96.
situated in the exposure from the web, revolving
Chun, Wendy Hui Kyong (2016) Updating to Remain the Same,
around the figure of the young boy having access
Cambridge, MA: The MIT Press.
to pornography and being lurked upon by older
Chun, Wendy Hui Kyong (2018) ‘Queerying homophily’, in
men, now the risk is in circulating oneself, Clemens Apprich, Wendy Hui Kyong Chun, Florian Cramer
centring the figure of the young girl. The young, and Hito Steyerl, Pattern Discrimination, Lüneburg: meson
white girl, one must add, as Chun and Friedland press, pp. 59–97.
point out with reference to Eden Osucha and Chun, Wendy Hui Kyong and Friedland, Sarah (2015) ‘Habits
Eva Cherniavsky, because privacy is historically of leaking: Of sluts and network cards’, Differences 26(2):
1–28.
‘defined in relation to a white femininity that was
Easley, David and Kleinberg, Jon (2010) Networks, Crowds and
allegedly injured by mass circulation’ (3). Instead
Markets: Reasoning about a highly connected world,
of listening to the gendered and racialized call to Cambridge: Cambridge University Press.
self-containment, they propose to question the Edelman, Lee (2004) No Future: Queer theory and the death
infrastructure that turns open users into sluts, drive, Durham, NC: Duke University Press.
that disallows vulnerability online. They state Halberstam, Judith (2011) The Queer Art of Failure, Durham,
that ‘[t]he danger lies not with dissemination, NC: Duke University Press.
but rather with infrastructures of tracing and Hu, Tung-Hui (2017) ‘Wait, then give up: Lethargy and the
remembering that allegedly protect by enclosing reticence of digital art’, Journal of Visual Culture 16(3):
337–54.
our machines’ (5).
Hui, Yuk (2012) ‘What is a digital object?’, Metaphilosophy
If the danger lies within the enclosure, 43(4): 380–95.
within the order created by profiles and data
Jelinek, Elfriede (1988) The Piano Teacher: a novel, transl. by
neighbourhoods, the answer might lie in greater Joachim Neugroschel, New York: Weidenfeld & Nicolson.
circulation, in a logic of escape and a strategy of Kincaid, Jamaica (1996) The autobiography of my mother, New
seeping out. As Chun and Friedland remind us, York: Farrar, Straus, Giroux.
the slut cannot be violently opened because she is Lissoni, Andrea (2015) Hito Steyerl – How not to be seen:
already exposing herself: ‘Impossible to seal, the A fucking didactic educational .MOV file, Tate, January, 2015,
http://bit.ly/2FBPAC6, January 2015, accessed 22 September
online slut cannot be exposed. The slut, despite
2019.
her exposure, continues to be active online –
Me and My Shadow (2016), May 17, 2016,
ruined and yet undead’ (16). Losing matter and https://myshadow.org, accessed 12 August 2018.
gaining speed, becoming pixels and leaving the Steyerl, Hito (2012a) ‘A thing like you and me’, in Hito
containment of gated communities, allows the Steyerl, The Wretched of the Screen, Berlin: Sternberg Press,
user to ‘thrive in the shadowy space between pp. 46–59.
identity and anonymity’ (20). As it is suggested by Steyerl, Hito (2012b) ‘In defense of the poor image’, in Hito
Lesson II from How Not to Be Seen, such a strategy Steyerl, The Wretched of the Screen, Berlin: Sternberg Press,
pp. 31–45.
relies on gestures we are already accustomed
Steyerl, Hito (2013) How Not to Be Seen. A fucking didactic
to from using our phones: scrolling (up and
educational .MOV file, mixed media installation, single-
down), wiping (left and right), erasing, shrinking channel HD-Video with audio, 15 min 52 sec, ground plot,
(pinching finger and thump together), taking stand, print.
a picture. A Shadow Feminism can no longer be Detox Your Digital Self (2017) https://myshadow.org/detox,
imagined as refusal, which in the context of Big 6 November 2017, accessed 16 January 2020.
Data would only lead us back to the notion of
an in-control subject reiterating the language
of security. The diminishment of the subject is
instead an escape from the structures of Big Data
98 P E R F O R M A N C E R E S E A R C H 24·7 : O N D I S A P P E A R A N C E
