Faisal Abbas 
Suddenly turned Reels into an exhibition of violence and pornography (Getty
Amnesty International issued a warning after the “Mita” decision to lift the restrictions on the content, stressing that this constitutes a threat to the weakest societies around the world, and warned that the police could be involved in contributing to “collective violence” and “violation of human rights” in reference to what happened in Myanmar in 2017. Pornography is strange, and it began to flow suddenly in front of the users, and reached the limit of sexual content, to see ourselves in front of “new” content that we had not previously entrusted to, after which the company accelerated to apologize for the error and repair it.
It is also evident with the spread of pictures of the dead from Syria, the Gaza Strip and all over the world, and social media pages turned into platforms for documentation at times, which brings us back to multiple paradoxes and problems. The first of these problems has to do with the violent content itself, strange from Facebook; What is its source? Where were all these pictures and clips to suddenly appear in front of us at once? Who is behind it and where are you depicted? All of these questions, regardless of their answers, reveal that we are facing huge content that was not permissible. Contents reveal levels of human behavior, strange desire to document them, and we talk here about violent content videos outside the context of wars.
In the context of wars and conflicts, and the documentary role played by social media, the methods of trial change. There are pages that play a role in documenting crimes and the bodies of the victims to get to know them, and play a role in accounting. At the same time, there is a severe violation of human dignity by publishing pictures of the bodies of the public, and sometimes without knowing them.
Within this paradox and public killing in the Arab region, these images also contribute to spreading terror and fear, and this is what we are witnessing in the Syrian coast. How can those who have witnessed their murderer on social media to return to him, later, in the absence of clear guarantees?
Also, how can confidence in one of them broadcast directly scenes of killing and torture he committed himself, then returns to his home? Pictures like this threatening civil peace, and the ability to settle in a place that may contain a potential criminal, and not only talk about Syria, how many videos from different regions of the world support this hypothesis.
However, what about after terror? Any stage of the collapse of the concept of human dignity, after publishing pictures of the dead children in Syria, then Gaza. Are not these images of death, regardless of their source and documentary characteristics of a specific place and time and a specific crime, reflect a reality that we are trying to avoid? This is a reality that reveals the brutality of some human beings, but some of them want to visualize and document it and then broadcast it. “The desire to photograph and document it and then broadcast it” is terrifying this phrase, and it refers us to spaces in the human nature and the concept of desire, and its relationship with the visual, that is, it is clear and clear to everyone who depicts and who receives, especially since real violence is not cut or produced. The time of brutality has heavier and longer. A time is devoured by algorithms, transmitting and enlarged them to firmly in our minds.
We, then, have questions that go beyond social media control. There is the desire for violence and its interpretations, the desire to document, and the most dangerous is the desire to broadcast, the desire to participate with the strange other in which the desire to watch, which turns consuming social media, which made us receive a massacre, advertisement, then a body, then a sexual clip, then a clip of a podcast, then US President Donald Trump. Perhaps this is how the digital world is now reduced.
