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Infection Drivers
Infection Drivers (2019) explores the body under attack. In this work, a CGI figure struggles to move and breathe in a translucent suit, which takes her body through transmutations of stereotypically masculine and feminine physiques as it inflates and deflates. In a time of increased public surveillance through facial-recognition software and biometric data  mining, Cooper’s high-definition world invites us to investigate and perhaps find freedom in the technologies often used to constrain us.

plplpl.pl::synchrony
PLPLPL.PL IS EEN PUBLIEKGEDREVEN BEWAKINGSMACHINE; EEN TECH NOIR ART ONDERZOEK NAAR MENSELIJK GEDRAG EN PERSOONLIJKE UITDRUKKING. PLPLPL.PL GEBRUIKT DE NIEUWSTE TECHNOLOGIEN UIT DE SURVEILLANCE-INDUSTRIE OM TE INTERACTEREN MET HAAR PUBLIEK. HET MOEDIGT BEZOEKERS AAN ZICH ONGELOOFLIJK TE GEDRAGEN DOOR AL HUN ACTIES TE TONEN, ANALYSEREN EN RECONTEXTUALISEREN. PLPLPL.PL IS EEN LOPEND PROJECT. DE MACHINE LEERT MET ELKE TENTOONSTELLING EN UITBREIDT MET ELKE INTERACTIE

Presence and Erasure
Presence and Erasure is a portrait machine that explores the reality of automated facial recognition and how people relate to their self-image, instinctively and emotionally. Within a given spatial domain, the artwork constantly scans for faces in the vicinity and photographs them. When the artwork’s algorithm detects a certain quality within a photograph, this image is temporarily printed at large scale by exposing a photochromic surface to light impulses. Each automated portrait remains for little more than a minute, before gradually dissolving into blankness. RANDOM INTERNATIONAL began to combine transient mark-making with automated portraiture early on in their practice, in 2008. Presence and Erasure marks the latest development in this body of work and assumes a minimal, industrial aesthetic that references their earliest studies on this theme. The physical impact of facial recognition and machine vision is emphasised by the exposure of the printing process itself, contrasted against the aesthetic of the high resolution portraits generated. RANDOM INTERNATIONAL intend this as a counter to the perception of surveillance footage as always being low quality, aiming to create a deeper reflection on the nature of surveillance today as well as the resounding cognitive and emotional dissonances.

In the robot skies
In the Robot Skies is the world’s first narrative shot entirely through autonomous drones. In collaboration with the Embedded and Artificially intelligent Vision Lab in Belgium the film has evolved in the context of their experiments with specially developed camera drones each programmed with their own cinematic rules and behaviours. The film explores the drone as a cultural object, not just as a new instrument of visual story telling but also as the catalyst for a new collection of urban sub cultures. In the way the New York subway car of the 80’s gave birth to a youth culture of wild style graffiti and hip hop the age of ubiquitous drones as smart city infrastructure will create a new network of surveillance activists and drone hackers. From the eyes of the drones we see two teenagers each held by police order within the digital confines of their own council estate tower block in London. A network of drones survey the council estates, as a roving flock off cctv cameras and our two characters are kept apart by this autonomous aerial infrastructure.

Bildverarbeitungsmaschine
Björn Schülke ist von den kinetischen Skulpturen des deutschen Klangkünstlers Peter Vogel und Jean Tinguely beeinflusst und schafft komplexe vom Betrachter aktivierte Maschinen, die Bewegung, Überwachung und Klang kombinieren.

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Björn Schülke é influenciado pelas esculturas cinéticas dos artistas sonoros alemães Peter Vogel e Jean Tinguely e cria máquinas complexas ativadas pelo espectador que combinam movimento, vigilância e som.

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Björn Schülke is influenced by the kinetic sculptures of the German sound artists Peter Vogel and Jean Tinguely and creates complex machines activated by the viewer that combine movement, surveillance and sound.

Brazil Now
BRAZIL NOW is a composition that addresses increasing militarization and surveillance within urban areas. Its geographical and acoustic reference is São Paulo, the largest megacity in Latin America. The piece is based on field recordings that capture the symptoms of a Latin American variant of turbo-capitalism with its distinctive acoustic features. Eruptive public demonstrations on the streets are often accompanied by loud, carnivalesque elements. These are controlled by a militarized infrastructure, openly demonstrating a readiness to deploy violence. The sonic documents are analyzed by machine learning algorithms searching for acoustic memes, textures, and rhythms that could be symptomatic for predominant social forces. The algorithmic results are then used as a base for a score and its interpretation through a musical ensemble. The piece drafts a phantasmatic auditory landscape built on the algorithmic evaluation of urban conflict zones.

The Right to Flight

A Londres, l’installation aérienne «The Right to Flight» de l’artiste britannique James Bridle explore la notion de surveillance depuis les airs et revient sur les utopies dévoyées des premiers aérostats.
Dans le ciel limpide de Londres flotte depuis le mois de juin un étrange ballon noir. Localisé dans le quartier populaire de Peckham, dans le sud de la ville, il est arrimé au niveau supérieur d’un parking désaffecté, vaisseau brutaliste dont les deux derniers étages hébergent depuis huit ans Bold Tendencies, un projet artistique estival, ainsi qu’un bar de plein air très couru avec une vue stupéfiante sur la skyline londonienne.Connu pour ses projets sur les drones ou son blog de recherche The New Aesthetic, James Bridle, né en 1980, a aussi posé sur le toit du parking une station de recherche expérimentale explorant l’histoire des aérostats, via des ateliers, des conférences et projections. Constituée de trois modules circulaires, fabriqués à partir de silos de grains lestés par des sacs de sable, l’architecture évoque tout à la fois les hangars des compagnies aériennes et la maison en kit Dymaxion de Buckminster Füller

Loop 60 Hz: Transmissions from the Drone Orchestra
A flock of autonomous DJI copters are programmed as aerial dancers and are mounted with specially engineered wireless speakers to broadcast the instruments of the band. Other copters are dressed in elaborate costumes to disguise their form and reflect light across the audience below. Against a score of original compositions and selected tracks from Cale’s seminal career this collaboration with Young imagines the possibilities of the drones as emerging cultural objects. If these technologies are no longer unseen objects overhead, or propelled along classified flight paths but brought into close and intimate relations with us then how might we see them differently. When their transmission fades, when the drones lose their signal and without their protocols for terror and surveillance, do they drop from the sky, do they fall in love or do the drones drift endlessly, forever on loop.

Globale Surveillance
Nous vivons dans un monde sous surveillance : plus personne n’oserait en douter. Mais quelle forme prennent aujourd’hui les nouveaux dispositifs de contrôle et en quoi sont-ils différents des pratiques du siècle dernier ? Comment modifient-ils notre rapport au monde et aux autres ? Vont-ils jusqu’à menacer le droit à la vie privée ? Globale Surveillance dresse une zone spatiale hypersurveillée, à l’intérieur de laquelle acteurs et spectateurs sont soumis à quantité de procédures de traçabilité rendues visibles, a contrario de nombreux mécanismes quotidiennement à l’œuvre et marqués par le phénomène angoissant de l’invisibilité.

Re-Wired / Re-Mixed: Event for Dismembered Body
“Re-Wired / Re-Mixed: Event for Dismembered Body” was a five-day, six-hour a day internet enabled performance, that explores the physiological and aesthetic experience of a fragmented, distributed, de-synchronized, distracted and involuntary body – wired and under surveillance. The artist wears a HUD (head up display) that enables him to see with the “eyes” of someone in London, whilst hearing with the “ears” of someone in New York. The body is also augmented by an 8 degrees-of-freedom exoskeleton so that anyone anywhere can generate involuntary movement of his right arm, using an online interface. The artist becomes optically and acoustically de-synchronized and performs partly involuntarily.

Oculus
Oculus is a large-scale, collaborative light sculpture that depicts a colossal abstracted drosophila eye, replete with compound faceted surfaces. It both recalls the circular opening at the apex of a cupola and alludes to a surveillance device or drone hovering in mid-air. Oculus is inspired in part by a series of scanning electron micrographs produced in a transgenic lab while researching human and non-human sensoria. The work evokes affective encounters with scale such as viewing miniature particles through the lens of a microscope or wandering through monumental physical environments. As each viewer’s reflection plays across the sculpture’s undulating surface, the apprehension of the self affects both individual and collective behavior in unexpected ways. This affective dynamic plays on the precariousness of our coexistence with other lifeforms in the world, one that is always contingent upon viewers’ bodies and the variability of the environment around them. The act of gazing at Oculus also puts into play the reciprocal condition of both seeing and being seen.

Factory of the sun
In this immersive work, which debuted at the 2015 German Pavilion at the Venice Biennale, Steyerl probes the pleasures and perils of image circulation in a moment defined by the unprecedented global flow of data. Ricocheting between genres—news reportage, documentary film, video games, and internet dance videos—Factory of the Sun uses the motifs of light and acceleration to explore what possibilities are still available for collective resistance when surveillance has become a mundane part of an increasingly virtual world. Factory of the Sun tells the surreal story of workers whose forced moves in a motion capture studio are turned into artificial sunshine.

Where the City Can’t See
Directed by speculative architect Liam Young and written by fiction author Tim Maughan, ‘Where the City Can’t See’ is the world’s first narrative fiction film shot entirely with laser scanners, designed in collaboration with Alexey Marfin. The computer vision systems of driverless cars google maps, urban management systems and CCTV surveillance are now fundamentally reshaping urban experience and the cultures of our city. Set in the Chinese owned and controlled Detroit Economic Zone (DEZ) and shot using the same scanning technologies used in autonomous vehicles, we see this near future city through the eyes of the robots that manage it. Exploring the subcultures that emerge from these new technologies the film follows a group of young car factory workers across a single night, as they drift through the smart city point clouds in a driverless taxi, searching for a place they know exists but that the map doesn’t show.

Memopol
Memopol-3 is an installation that visualizes visitor’s information field. It’s an Orwellian dystopia which is built on the technology of today. The tools of surveillance economy are abused to create a personal physical surveillance experience. Physical and virtual identities are quantified and processed into a stream of data. After the phases of data collection the visitor experiences a transcendent reflection of oneself that combines the past and the future, physical and immaterial into an audio-visual ceremony.

Vision Machine #8
Influenced by German sound artist Peter Vogel and Jean Tinguely’s kinetic sculptures , Björn Schülke creates complex viewer-activated machines that combine movement, surveillance, and sound.

surveillance exclusion
Camera’s and other technologies create a safer living environment than ever before. Mega databanks and high resolution cameras stock hundreds of exabytes a year. But who has access to this data? Not only the security department but also the advertisement industry is interested in this technology. They pay to use real time data to their advantage. They create advertisements that call your name, keep records of your personal interests and they follow you everywhere you go. By wearing this mask formed like a lens it possible to become unrecognizable for facial recognition software and because of it’s transparence you will not lose your identity and facial expressions. So it’s still possible to interact with the people around you.

乔恩·凯斯勒
존 케슬 러
ジョン·ケスラー
ДЖОН КЕССЛЕР
Evolution
With his chaotic kinetic installations, Jon Kessler critiques our image-obsessed surveillance-dominated world. His machines are at once complex and lumbering, combining mechanical know-how with kitschy materials and images.

when you are close to me i shiver
sound design: Alexander Martinz
“when you are close to me I shiver” is an algorithmically controlled live simulation, a real-time generated virtual reality that takes place in a version of the future in which humans, out of desperation, gather in masses on the last remaining piece of land. Inspired by the walrus scene in the documentary “Our Planet” narrated by David Attenborough and produced by Silverback Films, the project proposes an intense scenario encompassing our environmental and personal crises. It reflects on how we identify and connect ourselves in different realities while addressing the human condition in a world in ecological and therefore social crisis. On the tablets, virtual cameras scan the environment from various point of views, like surveillance drones. On the main screen, a similar camera randomly targets and focuses on different situations while a familiar voice-over narrates the tragic story.

A Reality Artist Taking Inspiration From The Everyday

Signe Pierce gained notoriety in 2015 within queer and feminist art circles for her incredibly shocking and poignant performance video, American Reflexxx[…] Currently, Signe is elaborating on the themes she began to explore in that video, such as cyber surveillance, constructs of femininity, and the male gaze.

circle drawing surveillance system
A train locomotive travels continuously in a circle harnessed with electro-mechanical appendages, including a drawing arm holding black compressed charcoal to paper. The train rides on the first rail, while the two inner rails function, respectively, to power the mini-video camera mounted on the train while the other sends the real-time video signal from the camera to the projector[…]

A Single Composite
A Single Composite is a series of kinetic installations and projection apparatuses that stretch, twist, and loop film strips containing declassified and other found reconnaissance footage. Using reconstituted digital printer chassis, this cinematic enterprise is projected on walls, ceilings, and floors, to form a series of individual moments of surveillance and implied violence.

Conservation of Intimacy

Made of pine, latex, music wire, copper, nylon line, paper, pens and video surveillance. It measured 20′ x 35′ x 26′ at Southern Exposdure.
A couple rocking on the bench sends air pulses to another room causing balls to move and pens to transcribe their motions onto paper. The paper is moved by a third person on a stationary bike. The couple on the bench can watch the balls on a video monitor before them where the balls appear to bounce into the air. The motion is delayed and languid as though under water. Action is best when the couple is moving slowly together.As visitors work together to animate the mechanisms, they create a theatre for themselves and each other. By encouraging participation, and touch the pieces coax visitors to engage their bodies as well as their minds. The way that pieces move and feel and sound as you rock them, pedal, crank and press against them applies the kinesthetic comprehension’s of childhood to the tasks of philosophy.Bernie Lubell’s interactive installations have evolved from his studies in both psychology and engineering. As participants play with his whimsical wood machines, they become actors in a theater of their own imagining.

Desire of Codes

This interactive installation consisting of three parts is set up in YCAM’s Studio A, a space that is normally used for theatre performances.
A large number of devices resembling tentacles with built-in small cameras are placed across a huge wall (Part 1), while six robotic “search arms” equipped with cameras and projectors are suspended from the ceiling (Part 2). Each device senses with insect-like wriggling movements the positions and movements of visitors, and turns toward detected persons in order to observe their actions. In addition, a giant round-shaped screen that looks like an insect’s compound eye is installed in the back of the exhibition space (Part 3). Visual data transmitted from each camera, along with footage recorded by surveillance cameras installed at various places around the world, are stored in a central database, and ultimately projected in complex images mixing elements of past and present, the venue itself and points around the globe, onto the screen. The compound eye visualizes a new reality in which fragmentary aspects of space and time are recombined, while the visitor’s position as a subject of expression and surveillance at once indicates the new appearances of human corporeality and desire.

سيمون فيغا
סיימון וגה
サイモンベガ
Panopticam Surveillance Hut
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ай Вэйвэй
アイ·ウェイウェイ
艾未未
آي ويوي
Surveillance Camera