dossier

preparando candidaturas múltiplas, moldando a massa.

mix brasil 2000

Preparing the Classes for the Dance Festival and thinking about the proposal to London at the same.

Chelsea

Camberwell

Wimbledon

Laban Centre

London Contemporary Dance School

octobre? novembre?

Task: organize something like a week workshop with local people and make our presentation as a collaboration with them, as a result of this workshop.
In our previous presentations in Brazil we worked with collaborators creating scenes and interacting with "real" passers.
It would be very rich to develop something together with local people.
In July I am going to give a 2 day workshop to dancers here in Rio, on the subject of using surveillance cameras to create dance spectacles.
I think I can test some ideas with them... It will be the first time I will work with people I do not know in advance.

Technically we have to do some tests on the best CFTV instalation. We'd like to work with microphones too.

A Sonnet for Surveillance Cameras

Since I finished my Master studies I haven't been very often here, but this is about to change.
David and I are starting a new project, including the possibility to produce and present a live cinema show in London, vielleicht Berlin auch. Challenging, frightening, exciting. I'll make an effort and write in english, from now on the official language of this blog.

We are working on the translation of our project, it starts like that:

"A Sonnet for Surveillance Cameras is a proposal for a live cinema spectacle of approximately 20 mins. This proposal is conceived using images and sounds from a CCTV system installed for live projection in a viewing area.

One month before the performance a lecture will be given by Paola Barreto explaining the project. Following the lecture applications will open for a workshop to prepare up to 18 participants for the spectacle.

There is no defined criteria for the selection of the participants and previous professional experience in the scenic arts is not a pre-requisite. Applicants should provide a video record telling what motivates their interest in the event and, if selected, sign a term of compromise agreeing to attend the rehearsals and the 3 live presentations. The aim is to form a heterogenous group in reference to age, biotype and ethnicity. During the 2 week workshop Paola and David will encourage the creation of collective scenes that work with imaginaries commonly evoked by surveillance systems. Security, fear, efficiency, voyeurism, exhibitionism, terrorism, day to day repetition, sterility, discipline and all the clichés commonly associated with the field of surveillance will be worked on by the performers at the venue, to “burn the stereotypes”, to use the expression of director Anne Bogart, and construct situations that dialogue with the clichés in a potent and innovative way. "

Following some questions raised by Professor João Luiz Vieira in my presentation at UFRJ, we are planning to work harder on the sound design this time.

There is a lot of work to be done and we are looking for financial suport through Itaú Cultural and MinC. Professor Murakami Wood, a kind of Godfather of this proposal who is trying to help us in Europe. May the force be with us!

Apresentação

Apresentação de Dissertação de Mestrado
dia 06/05/09 as 15hs
sala 142

Título:

Composição para circuito de vídeo-vigilância:
Do circuito fechado de televisão às redes abertas do cinema ao vivo

LEBLANC, Paola Barreto

Banca Examinadora:

Profª. Drª. Fernanda Glória Bruno – Orientadora
Doutora em Comunicação e Cultura (UFRJ), ECO/UFRJ

Prof. Dr. João Luiz Vieira
Doutor em Cinema Studies (New York University), UFF

Profª. Drª. Andrea França
Doutora em Comunicação e Cultura (UFRJ), PUC


Resumo

Os circuitos de vídeo-vigilância são uma presença cada vez mais comum e naturalizada nos espaços públicos, semi-públicos e privados nas cidades. Sua implantação e disseminação baseiam-se em uma retórica de combate ao crime e à insegurança, que produz, a um só tempo, controle e normatizacão dos espaços vigiados. Este fenômeno, guardadas as devidas proporções, é global, e pode ser observado em diversos países ao redor do mundo.
Com esta investigação, que discute possibilidades de apropriação artística dos circuitos de vídeo-vigilância, discutimos não apenas liberdades civis e direito à privacidade, questões sempre em jogo quando o tema da sociedade de controle se impõe, mas também e sobretudo como se dá a construção simbólica do espaço comum, do imaginário social e da função política da imagem, em um mundo cada vez mais midiatizado.

Conferência "Vigilância e Sociedade: Brasil, Japão e Grã-Bretanha"

O Programa de Pós-Graduação em Comunicação e Cultura/UFRJ, o Fórum de Ciência e Cultura/UFRJ e o CiberIDEA: Núcleo de pesquisa em tecnologias da comunicação, cultura e subjetividade/UFRJ convidam:

Conferência do Prof. Dr. David Murakami Wood (Newcastle University, Surveillance Studies Network - http://www.surveillance-studies.net/)
Tema: "Vigilância e Sociedade: um estudo comparativo entre Brasil, Japão e Grã-Bretanha"
A conferência será proferida em inglês.

Data: 07 de abril de 2009
Horário: 10:00 h
Local: Fórum de Ciência e Cultura da UFRJ - Salão Moniz de Aragão.
Endereço: Av. Pasteur, 250 / 2º andar - Urca - RJ (esquina com Av. Venceslau Brás)
Informações: 2295-1595 / Ramais: 109, 113 e 11 ou www.forum.ufrj.br

police officer and filmmaker?

David Cole enviando mais uma vez links para matérias do Guardian sobre our surveillance society.

Esta agora é simplesmente delirante.
Nos brinda com um vídeo de alguns minutos do material gravado pelos próprios oficiais da policia inglesa encarregados de cruzar as imagens com os dados de ativistas e jornalistas presentes em uma manifestacão ambientalista.
As imagens do video são acompanhadas de comentários em off dos policiais, o que nos lembra Landscape Theory, sendo que no video dos policiais as imagens são sincrônicas ao som (a edição é do jornalista do guardian).
Na mesma medida nos lembra ainda as imagens de THX 1138, de George Lucas, quando dois operadores da prisão onde encontra-se o personagem de Robert Duvall discutem sobre como funciona o painel de controle, atuando diretamente sobre o corpo do detento, subjugado como uma marionete.


Em um momento os policiais e os cinegrafistas independentes cruzam o eixo de gravação, e neste momento não podemos deixar de pensar em Sophie Calle in Double Blind (No Sex Last Night).

Mais uma vez chamamos a atencão para as formas audiovisuais do cinema, do vídeo e da arte contemporânea, que nos oferecem um vocabulário e um exemplo de maneiras potentes de lidar com o fato político de portar uma câmera -
para além da transformação da imagem em (1) produto para consumo (midia) e (2) ferramenta de controle social (policia).

Call for Papers: Performance, New Media, and Surveillance

Duas dicas dadas em Curitiba por David Murakami Wood.
Uma para participar de um Seminário de Estudos da Vigilância no Canadá.
A outra é o call for papers da revista Surveillance and Society, reproduzido abaixo.
As duas estão tirando o meu sono.

Special Issue of Surveillance & Society, guest edited by John E. McGrath and Robert W. Sweeny.

The relationship between the visual arts and surveillance has been explored through large scale exhibitions (CTRL:Space, ZKM), and texts such as Loving Big Brother (McGrath, 2004) have introduced questions of performance and performativity into the surveillance debate. However, as the technological possibilities available to artists grow, and the social impact of surveillance is increasingly recognized, there is a need for a thorough examination of the uses of surveillance in the visual arts, particularly in the genres of new media and performance art, where issues regarding technological engagement and embodiment come to the fore. The editors of this special volume of Surveillance and Society are seeking papers that examine the complexities of surveillance in new media and performance art. We intent to acknowledge various issues including but not limited to:

• (Re)Examination of New Media and Performance Art through surveillance themes and theories.
• Modes of spectatorship and participation in New Media and Performance Art that are complicated through surveillance technologies.
• Examples from technological and live artistic practices that present novel forms of interaction and engagement
• Analysis of the gaze in its various forms (male, actuarial, scopic) as related to New Media and/or Performance Art.
• Discussions regarding visualities produced in the spaces of surveillance, including the visual culture of technologies that measure gait, map surveilled populations, and monitor public spaces.
• Examinations and articulations of surveillance space (including data space) through artistic practice
• Explorations of the performative nature or surveillance society and space
• Political, resistant and utopian currents in surveillance art practice

We are also open to related subjects not outlined above. Projects by artists working in new media would be of particular interest, particularly those that make use of the digital nature of Surveillance & Society. These might include media and methods such as hypertext, digital video, animation, videogames, and social/tactical/locative media.

Please contact the guest-editors in advance to discuss proposed topics. All papers must be completed and submitted electronically no later than March 31st, 2009. Please use standard formatting and submit the papers via the new automated system - see the instruction for authors - unless the submission is a multi-media piece, in which case contact the guest editors:

John E. McGrath or Robert W. Sweeny

outro

dani lima enviou link do trabalho de stanza
mais um dentre os tantos artistas trabalhando com cctv
well...
o que pode se destaca nesta seara de artworks???

fiquei pensando até que ponto as composições para circuito de vigilância são interessantes, estimulantes, marcam uma diferença. porque não é só about voyeurism, mas também sobre construção de sentido a partir de imagens, sobre valor de real na imagem, und so weiter und sofort. aguardando para saber a opinião do é tudo verdade.

MANIFESTO FOR CCTV FILMMAKERS (UK VERSION, 2004)

GENERAL

The filmmaker is not permitted to introduce any cameras or lighting into the location.

SCRIPT

A protagonist ("data subject") is required to feature in all sequences.
Data Protection Act 1998; 1998 Chapter 29; Part II Section 7(1). **
[A]n individual is entitled –
(a) to be informed by any data controller whether personal data of which that individual is the data subject are being processed by or on behalf of that data controller,
(b) if that is the case, to be given by the data controller a description of –
(i) the personal data of which that individual is the data subject,
(ii) the purposes for which they are being or are to be processed, and
(iii) the recipients or classes of recipients to whom they are or may be disclosed,
(c) to have communicated to him in an intelligible form –
(i) the information constituting any personal data of which that individual is the data subject, and
(ii) any information available to the data controller as to the source of those data, and
(d) where the processing by automatic means of personal data of which that individual is the data subject for the purpose of evaluating matters relating to him such as, for example, his performance at work, his creditworthiness, his reliability or his conduct, has constituted or is likely to constitute the sole basis for any decision significantly affecting him, to be informed by the data controller of the logic involved in that decision-taking.

The documented activity of the protagonist must qualify as personal or sensitive data. The filmmaker is to establish this by locating a surveillance camera and circumscribing the field of action for the actors relative to it, so that incidents of biographical relevance (i.e. that reveal personal data) occur in the frame.
ICO CCTV systems and the Data Protection Act JB v.5 01/02/04 (***)
2. The court decided that for information to relate to an individual (and be covered by the DPA) it had to affect their privacy. To help judge this, the Court decided that two matters were important: that a person had to be the focus of information, the information tells you something significant about them.

The provisions of the 1998 Act are based on the requirements of a European Directive, which at, Article 2, defines, personal data as follows:
“Personal data” shall mean any information relating to an identified or identifiable natural person; an identifiable person is one who can be identified, directly or indirectly, in particular by reference to an identification number or to one or more factors specific to his physical, physiological, mental, economic, cultural or social identity.
The definition of personal data is not therefore limited to circumstances where a data controller can attribute a name to a particular image. If images of distinguishable individuals’ features are processed and an individual can be identified from these images, they will amount to personal data.

All people other than the protagonist ("third parties") will be rendered unidentifiable on the data obtained from the CCTV operators. Typically, operators blur or mask out faces of third parties. The filmmaker is to consider the visual impact of this manipulation, and to establish a rule for the handling of footage delivered with ineffectual masking or blurring – for example, reporting the offence.
Right to Privacy in Article 8 of the Human Rights Act 1998 (****):
RIGHT TO RESPECT FOR PRIVATE AND FAMILY LIFE
1. Everyone has the right to respect for private and family life, his home and his correspondence.
2. There shall be no interference by a public authority with the exercise of this right except such as in accordance with the law and is necessary in a democratic society in the interests of national security, public safety or the economic well being of the country, for the prevention of disorder or crime, for the protection of health or morals, or for the protection of the rights or freedoms of others.

DPA1998
4. On the other hand, the disclosure of third party information in compliance with a subject access request may also expose the data controller to complaint or action by the third party, for example [...] for breach of confidence.
6. The data controller should consider to what extent it is possible to communicate the information sought without disclosing any third party information [...] This might be achieved by editing the information to remove names or other identifying details.

LOCATION

The filmmaker is to choose sites that are covered by multiple surveillance cameras, preferably operated by a large business, private security firm or public authority – or, if operated by a small retailer, cameras of the kind that can be panned and zoomed remotely. Sites may be mobile – for example, a public bus.
ICO CCTV systems and the Data Protection Act JB v.5 01/02/04
If you have just a basic CCTV system your use may no longer be covered by the DPA. [...] Small retailers would not be covered who
– only have a couple of cameras,
– can't move them remotely,
– just record on video tape whatever the camera picks up,
– only give the recorded images to the police to investigate an incident in their shop.

For every camera used, the operator's name and contact details are to be noted.
Code of practice issued by the Data Protection Commissioner, under Section 51(3)(b) of the Data Protection Act 1998, 07/2000 (*****)
7. Signs should be placed so that the public are aware that they are entering a zone which is covered by surveillance equipment.
The signs should contain the following information:
Identity of the person or organisation responsible for the scheme.
The purposes of the scheme.
Details of whom to contact regarding the scheme.
(First Data Protection Principle).

FOOTAGE REQUESTS

After completing each shoot, the filmmaker is to address a written request ("subject access request letter") to the CCTV operator ("data controller") immediately to ensure that the data recovery process can be initiated while the recordings are still archived. (Mandatory retention periods vary.)
Code of practice issued by the Data Protection Commissioner, under Section 51(3)(b) of the Data Protection Act 1998, 07/2000
1. Once the retention period has expired, the images should be removed or erased (Fifth Data Protection Principle).

The subject access request letter is to state the place and time of the recording and include a picture of the protagonist, wearing the same clothes if possible, and a cheque for £10 (the maximum fee chargeable). Letters should be sent by a secure system which provides evidence of delivery. (Some data controllers may require the notarisation of the letter to legally establish identity.)
Data Protection Act 1998; 1998 Chapter 29, Part II Section 7(2)
A data controller is not obliged to supply any information under subsection (1) unless he has received –
(a) a request in writing, and
(b) except in prescribed cases, such fee (not exceeding the prescribed maximum) as he may require.

The filmmaker is to allow a maximum 40 days after sending the data request for an initial response.
Code of practice issued by the Data Protection Commissioner, under Section 51(3)(b) of the Data Protection Act 1998, 07/2000
A data controller must comply with a subject access request promptly, and in any event within forty days of receipt of the request or, if later, within forty days of receipt of:
the information required (i.e. to satisfy himself as to the identity of the person making the request and to locate the information which that person seeks); and the fee.

The filmmaker is to establish a set of rules for handling the various formats in which the data may be sent (video tape, DVD-video, digital files encoded with proprietary codecs, hard copies of frames).

SOUND

CCTV systems are not permitted record sound. The filmmaker is to establish a set of rules for the soundtrack (if any) of the movie – for example, prohibiting field recordings.

DISTRIBUTION

Footage received is subject to complex copyright issues. The filmmaker is to take legal advice and establish a strategy.

FOOTNOTES

(*) In addition to the boom in surveillance, the proliferation of miniature mobile cameras (many built into phones and other handheld devices) has led to the phenomenon of "sous-veillance" activities carried out by the population at large. News services now actively solicit amateur recordings from camcorders and even mobile phones, often combining them with CCTV footage where they have access to it, when reporting from scenes of crimes, accidents or natural disasters. The manifesto can be extended to provide a framework for films that work with acts of sous-veillance.

(**) Data Protection Act 1998 Chapter 29
http://www.opsi.gov.uk/ACTS/acts1998/19980029.htm

(***) CCTV systems and the Data Protection Act JB v.5
http://www.informationcommissioner.gov.uk

(****) Article 8 of the Human Rights Act 1998 (CCTV and the Human Rights Act)
http://www.crimereduction.gov.uk/cctv13.htm

(*****) CCTV Guidance and the Data Protection Act - Good Practice Note
http://www.informationcommissioner.gov.uk/eventual.aspx?id=5740