Congresos de la Universitat Politècnica de València, 2º Congreso Internacional ACC: Arte, Ciencia, Ciudad

Por defecto: 
Cristina Miranda de Almeida

Última modificación: 27-10-2015


In Greek mythology, Panoptes was an all-seeing giant, with a hundred eyes, an epitet for Helius (the Sun, source of light) and Argus. Surveillance processes reflect the very complex features of how information and knowledge are being processed in the global society after the impact of electricity and light. Surveillance has a double nature: it makes ourselves transparent and it makes itself transparent to us. Therefore, it is difficult to see the broad map and to understand the deep processes of technology-based control going on in society. These processes are fed by Internet of Things, GPS-based tracking systems, mobile technologies and by the very contribution of personal data from society in a naïve mode.

This text will focus on these questions to analyse how light/ electricity impacted the way society is developing the dominant surveillance model: (1) who are the agents; (2) which are the tools; (3) which are the individual and social practices; (4) where and when does surveillance take place; (5) which kind of literacy is required to raise awareness about global surveillance and lastly, (6) how art can contribute to raise awareness in society.

A general framework about the features, agents, tools, times and spaces of surveillance (a brief map of the impact of ICT and light on privacy) will be offered. Focusing on the core of the research questions we will explore how art is a critical response to the rise of surveillance and making surveillance processes visible (Trevor Panglen; Ubermorgen; Paolo Cirio), in different media (videos, installations, performances and critical objects). Among these art practices are inverse surveillance and reflexivity (Stephen Mann 1998) and Queer Objects (Zach Blass). The presentation will conclude with a synthetic map of the main aspects of the problem and a few indications about the role of art.

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