The livestreaming of terror, its co-production through live consumption and the massacre of lives as ‘entertainment’ propelled us into another long abyss of ethical challenges in the case of the xenophobic terrorist attack in Christchurch, New Zealand, in 2019. Livestreaming, as part of the convergence of technologies, enables narration in ‘real’ time, dragging us into a new ‘banalisation of evil’ where terror and torture can be co-produced by inviting audiences to consume through the vantage point of the perpetrator. This article examines the Muslim ‘body’ through JanMohamed’s notion of the ‘death-bound subject’ where the continual threat of death foreshadows the Muslim body, imbricating it within a political and ideological archaeology wherein both its possibility of death and the performance of death enter into a realm of theatrics of production incumbent upon invoking new moralities around consumption and its residues as a screen image. The ‘wretched of the Earth’ and their residues as immaterial matter online as the ‘wretched of the screen’ connote a new architecture of violence conjoining the temporalities of liveness with the sharing features of ‘semiotic capitalism’.

中文翻译：

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现场直播“大地之灾”：克赖斯特彻奇大屠杀和“死亡约束”

恐怖的现场直播，通过现场消费进行的共同生产以及作为“娱乐”的生命屠杀，使我们进入了道德挑战的又一个深渊，在2019年新西兰基督城发生仇外恐怖袭击时。技术融合的一部分，可以实现“实时”的叙事，将我们拖入新的“邪恶平化”之中，其中可以通过邀请观众在犯罪者的有利位置进行消费来共同制作恐怖和酷刑。本文通过扬·穆罕默德（JanMohamed）对“死亡约束主题”的概念来研究穆斯林的“身体”，在这一概念中，持续的死亡威胁预示着穆斯林的身体，将其与政治和意识形态考古学联系起来，在这种政治和意识形态考古学中，它的死亡可能性和死亡表现都进入了生产戏剧领域，这是在围绕消费及其残渣作为屏幕图像调用新的道德观念时产生的。在线上的“大地之灾”及其残留物与“屏幕之灾”一样，是不重要的物质，这意味着一种新的暴力结构，将活泼的时空与“符号主义资本主义”的共同特征结合在一起。