As the AIs behind image feeds come to “remember” for us, showing what they see in our aggregated lives and projecting our future’s past, we may become another sort of distanciated audience, with the same temptation to distrust what we see: Maybe it wasn’t really the sun lighting that outdoor shot; maybe we never really landed on Mars. Vision as presence, not absence — as responsibility for what we see rather than consumption of it — can contain the past and the future without being strung up between them.

Most of the photos I’ve taken on my own are stored with services that make them arrangeable, reproducible, and public, with options. Some I took to capture the moment, and others, more and more, because the moment called for them. This form of storage is sturdier, but it leaves them at the mercy of elements less predictable than mold, and turns things infinite that were meant to be finite. Not all images are meant to be memories, but the technological systems we increasingly tend to default to for archiving don’t know the difference.

Attention has become a scarce economic resource, and the efforts to commandeer it and disrupt our sense of control over it have become more and more intense and technologically sophisticated. Paranoia appears in this context as a kind of coping mechanism, a Pyrrhic effort to reassert executive function and reorient the self through heroic acts of feverish interpretation.

New technologies have reshaped not only what sorts of stories seem narratable but what sorts of fantasies and fears feel appropriately cinematic. Social media have had a further effect, forcing films to accommodate the rise of microcelebrity, ubiquitous connectivity, routinized surveillance at the level of form and content. But this also points to how the influence is not unidirectional. As digital media increasingly “pivots to video,” the grammar of film feeds back into how we represent ourselves and how we communicate.

Real Life presents the complete SPECIAL ISSUES for your consideration. Please enjoy these re-runs until we return to our usual scheduled program.

As a kid bored on a car ride or a teen stoned in afternoon class I imagined zones of psychic communion, immaterial common rooms where everyone I knew lived a second life. These spaces are now mundane, although, if anything, the internet proves that mundanity is an illusion and that everything is shot through with magic, or whatever you want to call it. Online doesn’t feel new at all.

Repetition has a way of meting out time; in recollection I have a way of meeting myself again, and giving me, as I do, the time of day. Restatements of a theme hold immense sway in figuring out why things, happening as they did, ever induced rapture or heartbreak, turning a lifelong project into a more digestible course.

Online platforms have become instruments for meting out brutality, suppressing freedom of thought, reinforcing marginalization and social exclusion, and enforcing orthodoxy. But it makes sense also to think of fascism itself as a political technology, an approach to social control that relies on negating the truth, sowing confusion, destabilizing
shared values, and setting unmoored bureaucracies against the population and one another.

Cities, buildings, clothing, transportation systems may not seem technological in the same way as digital devices, but they all are means by which social relations are sustained and given a graspable order. They all shape what kinds of thought are possible, what collective and individual aspirations can be conceived, what sorts of failure we may face. That is to say, they structure, and the innumerable iterative choices that have gone into them afford and preclude experience, extending new freedoms — and risks.

We can only trust bots when they say they can think, though 
we will have no incentive to believe them. Economists have long insisted that humans respond only to incentives and believing anything else is false sentimentality. We will demand that our bots be equally as self-centered, otherwise we will find it impossible to control them.