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Surveillance art
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Surveillance art
Surveillance art is the use of technology intended to record human behavior in a way that offers commentary on the process of surveillance or the technology used to surveil. Surveillance art manifests itself in many different forms, from short films to architecture, but all have been shown to provide some type of critical response to the rise of surveillance by various authorities and the technology used to achieve it, especially when dealing with issues of security and enforcing laws.
With new technology, came new surveillance and new ways of responding to it through artistic media. With the advent of video-recording devices, closed circuit television, and digital cameras, remote surveillance of subjects became possible. One of the most popular figures to adapt these new methods of surveillance to art was Andy Warhol.
Warhol's movie Outer and Inner Space introduced the performance-art possibilities of high-tech surveillance to the modern world. At the same time, it provided the observed subject with the image or knowledge of being observed, in this case the actress Edie Sedgwick. "On the left, Sedgwick's video image, in full profile, gazes off to the right, looking up as if she were talking to someone standing above her. On the right, the 'real' (or 'live') Edie sits in three-quarter profile facing left, addressing someone sitting off-screen to the left of Warhol's movie camera—an arrangement which at times creates the illusion that we are watching Sedgwick in conversation with her own image."
In the late twentieth century, the AIDS epidemic, cancer rates, and other health concerns created a new form of surveillance. Suddenly, the condition of the human body and potential for contagion became an addition to existing systems of observation.
"The 'my body, my business' ideal in the clinical setting dovetailed with broader societal concerns about snoops, spies, and surveillance, setting the stage for a fundamental recasting of the politics of surveillance in the last decades of the twentieth century. The encounter over HIV represented the high water mark of patient participation in the politics of surveillance. "
The terrorist attacks of September 11, 2001, sparked a new wave of American surveillance of bodies. This was primarily a form of electronic information gathering—monitoring of phones and email, Internet use, tracking and tracing of cell phones and GPS units. In certain instances, the detaining and/or monitoring of U.S. citizens of various ethnicities compounded the already growing debate on the violation of civil liberties. In July 2006, Mary DeRosa, a Senior Fellow of the Center for Strategic and International Studies, testified at a congressional hearing on the Foreign Intelligence Surveillance Act. At this point, different organizations within the United States government had been applying separate acts to monitor perceived threats of foreign agents, sometimes at cross-purposes and with varying degrees of rights violation.
DeRosa stated: "The national security agencies and their employees are charged with protecting the United States from harm. When faced with a decision about whether to take a step that invades liberties they will not always be able to judge whether it is the only way or the best way to address a problem -- or whether it is simply the easiest way."
As homeland security issues forced questions of the infringement of civil liberties, the response of various practitioners of surveillance art questioned the notion of privacy. In one of the most notorious cases, the price of innocence and freedom seems to be the willing sacrifice of one's personal privacy.
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Surveillance art
Surveillance art is the use of technology intended to record human behavior in a way that offers commentary on the process of surveillance or the technology used to surveil. Surveillance art manifests itself in many different forms, from short films to architecture, but all have been shown to provide some type of critical response to the rise of surveillance by various authorities and the technology used to achieve it, especially when dealing with issues of security and enforcing laws.
With new technology, came new surveillance and new ways of responding to it through artistic media. With the advent of video-recording devices, closed circuit television, and digital cameras, remote surveillance of subjects became possible. One of the most popular figures to adapt these new methods of surveillance to art was Andy Warhol.
Warhol's movie Outer and Inner Space introduced the performance-art possibilities of high-tech surveillance to the modern world. At the same time, it provided the observed subject with the image or knowledge of being observed, in this case the actress Edie Sedgwick. "On the left, Sedgwick's video image, in full profile, gazes off to the right, looking up as if she were talking to someone standing above her. On the right, the 'real' (or 'live') Edie sits in three-quarter profile facing left, addressing someone sitting off-screen to the left of Warhol's movie camera—an arrangement which at times creates the illusion that we are watching Sedgwick in conversation with her own image."
In the late twentieth century, the AIDS epidemic, cancer rates, and other health concerns created a new form of surveillance. Suddenly, the condition of the human body and potential for contagion became an addition to existing systems of observation.
"The 'my body, my business' ideal in the clinical setting dovetailed with broader societal concerns about snoops, spies, and surveillance, setting the stage for a fundamental recasting of the politics of surveillance in the last decades of the twentieth century. The encounter over HIV represented the high water mark of patient participation in the politics of surveillance. "
The terrorist attacks of September 11, 2001, sparked a new wave of American surveillance of bodies. This was primarily a form of electronic information gathering—monitoring of phones and email, Internet use, tracking and tracing of cell phones and GPS units. In certain instances, the detaining and/or monitoring of U.S. citizens of various ethnicities compounded the already growing debate on the violation of civil liberties. In July 2006, Mary DeRosa, a Senior Fellow of the Center for Strategic and International Studies, testified at a congressional hearing on the Foreign Intelligence Surveillance Act. At this point, different organizations within the United States government had been applying separate acts to monitor perceived threats of foreign agents, sometimes at cross-purposes and with varying degrees of rights violation.
DeRosa stated: "The national security agencies and their employees are charged with protecting the United States from harm. When faced with a decision about whether to take a step that invades liberties they will not always be able to judge whether it is the only way or the best way to address a problem -- or whether it is simply the easiest way."
As homeland security issues forced questions of the infringement of civil liberties, the response of various practitioners of surveillance art questioned the notion of privacy. In one of the most notorious cases, the price of innocence and freedom seems to be the willing sacrifice of one's personal privacy.