[NetBehaviour] THE CULTURE OF SURVEILLANCE AND THE POETICS OF OBSERVATION TECHNOLOGIES

netbehaviour netbehaviour at furtherfield.org
Tue Jul 2 23:24:26 CEST 2013


THE CULTURE OF SURVEILLANCE AND THE POETICS OF OBSERVATION TECHNOLOGIES

part of the exhibition "faceless" ( http://goo.gl/ZlmFl )
http://artisticbokeh.com

Opening: 3.July, 2013 19:00h, MuseumsQuartier Vienna, AUSTRIA

Fotos:
http://www.flickr.com/photos/artisticbokeh/sets/72157634440642553/with/9190519391/
Folder: http://goo.gl/Q42a1

Surveillance work can be challenging - according to the U.S. Department 
of Labor it includes stress, danger, confrontations with angry or upset 
individuals, physical discomfort, lethal hazards, fieldwork in high 
crime areas, monotony, constant alertness to threatening situations, 
irregular hours, and a heavy toll on private life, among other risks. 
The surveillance worker has to possess "great self-discipline to control 
unproductive ethical impulses to look away" since the "humanity of the 
surveillance worker has always been a weakness of surveillance systems" 
(Maxwell, 2005). Who are those people and employees observing us in all 
possible situations of our lives? Surveillance workers are "in reality, 
reflexive and knowledgeable social actors, involved in a variety of 
sense and decision making activities" (Ball, 2005), though they are 
people with diverse backgrounds and individual biographies that are 
rarely recorded and often disregarded in history.

(1) Artistic Bokeh Showroom: Documenting Surveillance
Installation, opening with the Faceless exhibition on Wednesday 3rd July 
2013

The exhibition-booth of the initiative "artistic bokeh" features an 
abandoned surveillance room showing displaying leftovers of an active 
operation - even the technology is still in working condition. The work 
environment, the tools and individual (personal) items of the surveyor 
produce different narratives of what might have happened, while at the 
same time showing small but significant flaws in the story. The 
technology and the devices used might not fit together from their times 
- what might look as flaws in the staging at first sight unfolds as an 
act of distortion of history, which represents a meta-narration forcing 
a critical observation of facts and fiction.

(2) >Asymmetric Love Nr. 2<
Public installation, viewable from July 2013

The installation >Asymmetric Love Nr. 2< by Addie Wagenknecht and Stefan 
Hechenberger was created to mimic a familiar and comfortable iconic 
baroque chandelier composed out of surveillance cameras.

(3) Performance "Anonymity" by Wagenknecht and Hechenberger
2013-07-03 19:00, MuseumsQuartier Vienna

By censoring the eyes, we censor a essential part of our expression, 
becoming 'faceless' and anonymous in nature. Six hundred black glasses 
will be distributed to the visitors opening night and documented by 
ARISTIC BOKEH. Addie Wagenknecht and Stefan Hechenberger developed 
“Anonymity” in New York in 2007, and adapted it for the opening of the 
exhibition FACELESS part I and part II.

Artistic Bokeh is an initiative to qualitatively explore, map and extend 
the electrosphere with parameters of artistic research and development. 
The initiative is part of the project Artistic Technology Research at 
the University of Applied Arts, Vienna.

http://artisticbokeh.com
http://facebook.com/artisticbokeh
http:/twitter.com/artisticbokeh
http://twitter.com/atechres






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