Visual Composition and Subject Matter in the Artwork
The piece “How Not to Be Seen: A Fucking Didactic Educational.MOV File,” created by Hito Steyerl in 2013, presents a parody of an instructional or educational video. Visually, it mixes real camera footage, photographs, and 3D animations. The consistent imagery used in the work features photos and videos of the now-abandoned and dilapidated calibration targets in the California desert. Furthermore, the author frequently returns to a 3D rendering of a luxury apartment complex, accompanied by text and animated residents.
Type, Source, and Components of the Footage Used
As noted above, Steyerl uses real-life footage, animation, stock images, and videos. For instance, a performance by a musical group is likely taken from videos in the public domain, and 3D renderings are found on the internet. The author films some parts – a woman appears before the camera to demonstrate the instructions given by a robotic voice. Furthermore, people cloaked in green fabric or dressed in greenscreen suits are also a part of the author’s own footage.
Channel Format and Narrative Structure of the Work
The artist’s work is single-channel, and it appears to be an interpretation of an instructional video. There is no linear narrative, but the video is separated into chapters that often repeat or build on the points from previous segments. One can argue that the central story is visual – the distortion of an educational video occurs over time, as the suggestions of disappearance become less and less coherent.
Conceptual Interpretation and Artistic Intent
Through the discussion of how one can disappear, Steyerl comments on the invisibility of people and the modernization of surveillance tools. The calibration targets symbolize old photography instruments that are no longer used because they are no longer needed. Now, new cameras can capture the whole world without them. Additionally, the author offers social commentary on the experience of becoming invisible to society – being a “woman over 50” or an undocumented person. The footage of a luxury apartment area with 3D animated people replacements further strengthens this criticism, highlighting that people are viewed as objects of surveillance.
Connection to the History and Evolution of Video Art
Based on Kate Horsfield’s classification, this video may belong to the era of shifting patterns – the use of editing software that allowed for the use of green screen footage, along with animation and various effects, inspired a generation of interpretive art with complex narratives and visuals. This work relates to the history of documentaries, as it discusses the historical events of digitalization in camera and surveillance technology, while departing from established standards to engage in a surrealistic exploration of social issues.