The Strange Online Aesthetic of the YouTube Shooting Suspect

(New Republic) The Strange Online Aesthetic of the YouTube Shooting Suspect

By JOSEPHINE LIVINGSTONE 

What Nasim Najafi Aghdam’s social media content reveals about art and life on the internet

“Speculation” has meant close, contemplative attention to a matter since the fourteenth century. In the negative sense of conjecture, the sixteenth century. In the sense of gambling on markets, the eighteenth. Since the police identified Nasim Najafi Aghdam as the woman who shot three people and then herself at YouTube’s San Bruno, California, offices on Tuesday, the court of speculation has been open.

Aghdam had a significant presence on the internet, and that presence had a very distinctive look and feel. What appears to be her personal website—http://nasimesabz.com/—directs readers to Farsi, Turkish, and English-language YouTube channels, all of which have been disabled, as well as a now-unavailableFacebook page. She maintained Farsi and English Instagram accounts, and a Telegramchannel. Those accounts are easily shut down by the service providers she used, including the one she literally shot at, but a personal website is harder to destroy.

Her post-mortem internet presence gives rise to many questions. What motivated her to post these videos and to style them the way she did? More importantly, what motivated her to shoot people and then to end her life? Given the target of her attack, those questions would seem to be inextricably linked. They facilitate a third question: whether it is appropriate to analyze a violent and possibly unwell person’s social media content with the tools of criticism. This question feels more urgent when that content looks like art.

Aghdam made videos about veganism and workouts. She also posted music videos, in which she danced in trendy but offbeat outfits against computer-generated imagery. By putting this content online, Aghdam was engaging in a kind of speculation, hoping for a response that hinges on various types of capital: social capital, in the form of likes and subscriptions and so on, and financial capital, in the form of monetization.

On her personal website, Aghdam complained about censorship by YouTube, specifically its “demonetization” policy barring small channels from making money, which was implemented earlier this year. Aghdam’s brother told KGTV that “she had a problem with YouTube.” She had other complaints about YouTube’s algorithm. “There is no free speech in real world & you will be suppressed for telling the truth that is not supported by the system,” she wrote at her homepage. “Videos of targeted users are filtered & merely relegated, so that people can hardly see their videos!”

These statements have led to suspicions that Aghdam’s violent crime was motivated by resentment towards the platforms on which she posted her content. But the content is also of interest on its own terms.

Young people online often refer to their “aesthetic,” using an updated definition of that concept to describe a sense of self that is communicated through their posts. The aesthetic is determined by pictures of the users themselves, as well as images from other sources. It is curatorial in nature—a way for people to shape and explore their identity through the world of imagery.

Aghdam’s “aesthetic” is striking. First, she was a very conventionally beautiful young woman, with strong eyebrows and a symmetrical face and a thin body. But her haircut was feathered and short, almost retro, and she dressed in strange outfits, wearing a camouflage-print bodysuit in one video, a blonde wig in another. In the background, Aghdam often used video footage of animals like cows and chickens and rabbits.

Her videos strongly resemble the field of contemporary art that recycles and reworks the visual vocabulary of the pre-broadband internet. This field includes the wider bracket of “net art,” which has been rumbling since at least 1994, and the later “post-internet” artists whose work engages on- and offline with the artifacts and language of digital culture.

Aghdam’s personal website was put together very simply, which you can see if you view its source code through your browser. It harks back to a time when most amateur internet users coded their own pages using html, rather than the platform-based language of WordPress or SquareSpace “flat” design that we are familiar with now.

Aghdam’s engagement with that style seems to have been authentic, or non-ironic. Although many users across the world are, of course, still using that style in a non-ironic way, to other users it has become an “aesthetic,” a throwback look that self-consciously parodies and comments upon the way we used to be online.

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