Wednesday, 14 April 2010

panopticon performance way

Dear All

Thank you vey much for the messages.
This discussion is very important.
I had a similar one with Manu Luksh about my art work, which uses cctv images to create live cinema spectacles.
Brazilian coreographer Dani Lima, a friend of mine, is also having the same discussion with Leipziger Kamera group, once she is about to do a dance performance using cctvs in Leipzig in June.
As filmmakers, our struggle is not only against surveillance, but also for freedom in audiovisual language, and this is not a "smaller" fight.
Classic Narrative Codes are also a control tool, as we all know.
What is interesting, is that to "read" CCTV images, monitors are based on this codes - continuity, contiguity, linearity, realism (effect de réel).
For me, surveilance images ara a very intersting field to make experiments on this audiovisual codes - usually taken for granted - and break them, installing ambiguity inside an image always expected to be "real" - the surveillance image.
This doesn't mean that I am not against surveillance, but that I use surveillance as a platform to discuss filmmaking, cognition and perception.
I would like to publish this discussion in my blog, if you don't mind.

Hope to year from you soon,

2010/4/12 Bill NOT BORED!

> Did I clarify your doubt? So, we are in favor of "democratized" media, but
> we can't be naif on its complex structure and process...

yes, thank you Milena.

2010/4/8 milena sz.
- Ocultar texto das mensagens anteriores -

Hi Bill,

when we talk about it during lectures and/or workshops, we use to tell about brazillian (sao paulo) streets and specific audience situations (and its feedback), i.e. a path about these last 7 years of this artwork.

During "Surveillance Wireless Vj'ing Performance" we tried to insert a discussion inside our community and society: The Panopticon Manifesto (printed one as audiovisual ones) used to talk about surveillance(control)+spectacle(media)=consumption(system). We used to dialogue with different audiences about surveillance, spectacle, new media and art-activism detournement issues on our everydayness (streets and festivals).

At that time we wrote also a linear text about it. I'll put an excerpt here:
(if you'd like I can send to you the whole text, but my english is not pretty well)

"Everywhere you walk there’s something spying you: since a surveillance public camera to your tracked-cellphone by a global position system or just by your mobile telecommunication service... An electronic and digital data machine eye and all we have to do is smile: “Smile, you are being taped”. Bentham — the panopticon inventor — presented his system based in control principles and productivity of a capitalist society. Foucault came after talking beyond population and security, but also circulation. Where you look and are looked, being tracked all time in. Who’s spy on whom? Who’s chasing who? The panopticon efficacy is realized when everybody participates of this in some way. That's the mechanism of this power.


In our online networked life, everything can appeared like a transparence, a kind of digital democracy in a naif perspective: it makes to believe that you're 'free' to manifest yourself to the world, on live. But these digital systems are tracking us not just at virtual but also at physical space...


Did I clarify your doubt? So, we are in favor of "democratized" media, but we can't be naif on its complex structure and process... (...) please, take a look at

On Wed, Apr 7, 2010 at 12:38 PM, Bill NOT BORED! wrote:

It isn't clear to me if these performances are arguing against
surveillance or in favor of "democratized" media.

clarification please?

thank you

On Tue, Apr 6, 2010 at 4:45 PM, milena sz. wrote:
> Hi art-surveillance/sousveillance friends!
> At least, we uploaded a short documentation about our 'old' surveillance
> performance:
> Cheers!
> Milena
> :)
> --
> [ spectacle+surveillance=consumption >> ]

[ spectacle+surveillance=consumption >> ]

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