However, the fact that Harris is constantly arranging for Timoner to follow him with her camera crew (the film’s narrative spanning over a decade), in addition to the eminent zoom-out from the startling ‘goodbye’ video to its YouTube page, could both be viewed as proof of Harris’ relentless hunger to pursue the sickly limelight of internet fame. Harris likens his own ‘human experiments’ (especially that of the aptly named Orwellian amalgamation ‘Quiet: We Live in Public’) to Warhol’s renowned ‘Factory’, describing the project as a commune for artistic freedom.
Yet, Harris seeks to mark a great distinction between his own experimentation and that of Warhol’s own ethos, (that ‘everyone just wants their fifteen minutes of fame’), defining ‘Quiet’ as testimony that through the ever-enhanced power of the internet as a tool of (artistic) expression, people are no longer willing to settle for a mere fifteen minutes; they now demand a lifetime of recognition for essentially not achieving a great deal.
Harris’ utopian underground ‘sanctuary’ soon begins to turn sour; ‘Quiet’s’ participants begin to feel as though, by being constantly connected to the internet and networking systems, they have lost a part of their real ‘selves’. ‘Quiet’ also seems to reveal Harris’ sadistic playfulness; a shooting range and gun department are situated in the bowels of the constructed environment, which seems to beg the question: If this community is so perfect, why supply guns ‘just in case’?