Sniffing the city: issues of sousveillance in inner city London

This article reflects on a series of workshops run by the art/media/hacktivist collective Deptford.TV in collaboration with the Centre for Urban and Community Research (CUCR), Goldsmiths, University of London in 2009–2010 and in 2012. The aim of the workshops was to create short films using hacked CCTV material. Participants, equipped with digital video signal receivers, were led through the city by incoming surveillance camera signals. Receivers cached surveillance camera signals making a range of city spaces visible. The material was then stored on a shared video platform and reshuffled in personal narratives and montages of the city. Hackers and media artists call it ‘sousveillance’ and frame it as a critique of the ‘panopticon society’. I argue that this practice reveals an unusually realistic portrait of inner city London and its working-class population at their everyday work. My contention is that the absence of such activities in narratives of gentrification and the presumed end of manual work make this portrait particularly valuable. The article evaluates this emerging and ethically controversial practice of video recording, asking to what extent it can become a useful tool for urban scholars, visual sociologists and media artists. In conclusion, I argue that the exercise provides moments of self-discovery for the urban stroller, who – while practicing a sort of heroic immersion in inner city London – paradoxically becomes a watcher of scenes from life fabricated at a ‘safe’ distance; a middle way between urban ethnographer and flâneur.     

I spy with my little eye: the use of CCTV in schools and the impact on privacy

CCTV is widely acknowledged to be ubiquitous in British urban areas. It is therefore not surprising that its use has seeped into institutions such as the school. As such it is important, perhaps more than ever, to be able to attribute an inherent value to privacy and demonstrate that its infringement facilitated by the burgeoning of technological surveillance practices could have potentially serious consequences for society. Drawing upon empirical research conducted in three secondary schools in the United Kingdom, this paper examines the value of privacy as perceived by pupils and the extent to which this is undermined or eradicated by the presence of CCTV cameras.     

Repossessing Border Space: Security Practice in North American Border Art

Abstract

This paper discusses how the visual arts engage in representing border crossing experiences and, more specifically, how art interrupts border security practices and their rituals. After introducing the history of North American border art and different approaches to issues of border crossing, the paper will concentrate on specific works. It argues that the selected works of art perform interventions that confront the public with the borderlands as a place of violence and death. At the same time, artists are shown to employ different artistic strategies of symbolically re-possessing the borderlands for undocumented migrants who – when crossing it – experienced it as an existential obstacle.     

False security or greater social inclusion? Exploring perceptions of CCTV use in public and private spaces accessed by the homeless

It has been well documented that owing to the vulnerability inherent in their situation and status, the homeless experience high rates of harassment and criminal victimization. And yet, the question of whether CCTV surveillance of public and private spaces – so frequently viewed by the middle classes as a positive source of potential security – might also be viewed by the homeless in similar ways. Within the present paper, I address this issue by considering the possibility that CCTV might be seen by some homeless men and women as offering: a) a measure of enhanced security for those living in the streets and in shelters, and; b) to the extent that security is conceived of as a social good, the receipt of which marks one as a citizen of the state, a means by which they can be reconstituted as something more than ‘lesser citizens’. To test these ideas, I rely on data from interviews conducted with homeless service users, service providers for the homeless, and police personnel in three cities. What is revealed is a mixed set of beliefs as to the relative security and meaning of CCTV.     

Interacting forms of expertise in security governance: the example of CCTV surveillance at Geneva International Airport1

The paper investigates the multiple public‐private exchanges and cooperation involved in the installation and development of CCTV surveillance at Geneva International Airport. Emphasis is placed on the interacting forms of authority and expertise of five parties: the user(s), owner and supplier of the camera system, as well as the technical managers of the airport and the Swiss regulatory bodies in airport security. While placing the issues of airport surveillance in the particular context of a specific range of projects and transformations relating to the developments of CCTV at Geneva Airport, the paper not only provides important insights into the micro‐politics of surveillance at Geneva Airport, but aims to re‐institute these as part of a broader ‘problematic’: the mediating role of expertise and the growing functional fragmentation of authority in contemporary security governance. On this basis, the paper also exemplifies the growing mutual interdependences between security and business interests in the ever growing ‘surveillant assemblage’ in contemporary security governance.     

Closed Circuits of Interaction?

Are CCTV images of such evidential strength that they speak for themselves? If not, then for whom do they speak? CCTV cameras form a growing presence in Britain's high streets. There are estimated to be 2.5 million cameras in operation in Britain, there is an increase in legislation relating to cameras and there is increasing concern amongst civil liberties groups about cameras' effects. Claims are frequently made such as 'if you are doing nothing wrong, you have nothing to worry about' and 'CCTV evidence is clear to see.' These claims depend upon acceptance of the proposal that CCTV images are simply left to speak for themselves and that CCTV staff do little interpretative work. However, to investigate these claims, we need to ask: How do CCTV systems actually operate in practice. How are identities for CCTV images made 'clear', accounted for and mobilized? What work is done to promote the notion that we have nothing to worry about with CCTV? How do issues such as 'surveillance', 'privacy' and 'public' become implicated within these identity production processes? This article seeks to tackle these questions through the interrogation of a single story involving a high-street CCTV system, local police, local residents, a national television company and civil liberties group. This analysis of interactivity (based on a broadly ethno-methodological remit) augments current sociological accounts of CCTV. Instead of accepting panoptic metaphors as a means of understanding CCTV, the article will open up the closed circuit of CCTV through an analysis of the pantopticon in practice.     

Using Visual Art Workshops with Female Survivors of Domestic Violence in Portugal and England: A Comparative Reflection

ABSTRACT

This paper provides a reflection on the use of visual art workshops in an interdisciplinary feminist project with female survivors of domestic violence living in refuges in England and Portugal. The paper discusses the fieldwork in each location with attention to the interaction between participants, between participants and the researcher/s, and the cultural and institutional structures influencing the research and the images produced. Despite some key differences in the context, the analysis highlights key resonances and commonalities amongst the objects that survivors of domestic abuse depicted in each location. We use the feminist notion of ‘giving voice’ as an analytical tool throughout the paper. The paper argues that ‘giving voice’ was not unproblematically accomplished by using visual methods and suggests that our understanding remained partial and often reliant on verbal narratives accompanying the visual images produced. We also highlight issues of power emerging when exhibiting art generated through the study.     

“See Media”: Coco Fusco’s Direct Address and the Performance of In/Security

Abstract

A Room of One’s Own: Women and Power in the New America (2006–2008) is a multi-media performance art piece by visual artist Coco Fusco. In a lecture style performance staged at the Museum of Modern Art (MoMA) as part of their 2007 symposium The Feminist Future: Theory and Practice in the Visual Arts, Fusco explores the use of women in US military interrogation efforts during the height of the War on Terror and – problematic and violent as it may be – mounts a parallel attack against the art world itself. Although invited to speak, Fusco speaks (performs) out of turn – and out of sync in order to level a critique at the very establishment in which the symposium was held. In doing so, Fusco directs our attention towards the interwoven workings of power, surveillance, silence, and the making and the performances of particular kinds of citizen/subjects/enemy combatants/art objects/interrogators/artists. This article seeks to address how visual culture and US military security discourses are inextricably linked through interwoven histories and unsettling relationships between race and national security, national security and feminism, as well as race and feminism.     

PUBLIC ART/PRIVATE LIVES

This essay traces a body of work, as it emerges in the space between visual art and an engagement in the public sphere. A range of projects and exhibitions, using photography as medium, is described in the context of a discussion about the complexity of the photographic transaction. All of these projects explore notions of intimacy, pushing at the boundaries between ‘the private’ and ‘the public’ in the South African public cultural domain. The essay focuses particularly on Hotel Yeoville (2010), a participatory public art project-based online and in the library of the old Johannesburg suburb of Yeoville. Yeoville's estimated 40,000 inhabitants are largely disenfranchised migrants and refugees from every part of the African continent. The project comprised a website and an exhibition space with a series of digital, interactive booths in which members of the public were invited to document themselves through mapping, video, photography, text and social media applications. The essay reflects upon the performative, evocative and expressive potentials of the media platforms that could be accessed through the Hotel Yeoville installation and in this particular social and political context asks questions about the photographic encounter and its relationship to self-representation, truth, knowledge and power.     

Investigating the organizational everyday: a critical feminist approach

ABSTRACT

This article considers the possibilities and limits of applying institutional ethnography, a feminist theoretical and methodological approach that contributes to collective projects of investigating and transforming social life. Elaborating on the approach, the article reports on an ethnographic exploration of visual artists’ experiences and struggles in Canada's art world – a project that started from the standpoint of practising visual artists, examined their work and relations, and explicated practices and logics of art and valued work conditioning their lives. Speaking back to formal or text-based investigations of particular institutions, the article grapples with how to engage in research that more fully reveals the ‘social,’ attending to everyday life, to the ‘life work’ that people do, and to social forms that are threaded through intersecting, localized intimate and institutional spheres.     

Voice,authenticity and ethical challenges: the participatory dissemination of youth-generated visual data over social media

Using the theoretical frameworks of childhood studies and visual ethics, this article explores ethical ways of engaging children and young people in disseminating self-generated visual data (‘participatory dissemination’) over social media. The discussion draws on a research project carried out with a group of young people in an underserved community in South Africa. The project was an educational intervention that aimed to enable the participants to bring out their experiences with the HIV and AIDS pandemic in South Africa and to reflect on related issues through participatory video making. The methodological focus was on exploring visual ethics in the context of participatory dissemination. Despite a growing interest in social media, few studies have been conducted in relation to ethics in using social media as an outlet to disseminate visual data created by young people. This article contributes to addressing this knowledge gap. It is argued that (1) the process of remaking visual data can enhance the ethics of dissemination by offering young participants an opportunity to reflect on self-representation more carefully and (2) the verbal contextualisation of participant-generated visual data can contribute to a further clarification of young people’s ideas, thereby making dissemination more ethical. I am cautious, however, to overstate the significance of disseminating young people’s verbal and visual expressions without researchers’ discretion because such expressions may contribute to stigmatising the young people.     

The universal acts

Drawing on official acts of Western multicultural democracies – predominantly the UK Nationality, Immigration and Asylum Act (2002) and its accompanying documents and actions – this article investigates, via an engagement with Judith Butler, the constitution of ‘the biopolitics of immigration’. It also argues that the biopolitics of immigration both presupposes – in the form of an injunction – and produces a certain ethics: what the author calls, drawing on Butler's work, ‘an ethics of bodies that matter’. This ‘ethics of bodies that matter’ will be seen as a source of political hope; it will guarantee the possibility of enacting differently the political acts that regulate the issues of asylum, immigration and nationality.     

On the relation between ‘visual research methods’ and contemporary visual culture

One of the most striking developments across the social sciences in the past decade has been the growth of research methods using visual materials. It is often suggested that this growth is somehow related to the increasing importance of visual images in contemporary social and cultural practice. However, the form of the relationship between ‘visual research methods’ and ‘contemporary visual culture’ has not yet been interrogated. This paper conducts such an interrogation, exploring the relation between ‘visual research methods’ – as they are constituted in quite particular ways by a growing number of handbooks, reviews, conference and journals – and contemporary visual culture – as characterized by discussions of ‘convergence culture’. The paper adopts a performative approach to ‘visual research methods’. It suggests that when they are used, ‘visual research methods’ create neither a ‘social’ articulated through culturally mediated images, nor a ‘research participant’ competency in using such images. Instead, the paper argues that the intersection of visual culture and ‘visual research methods’ should be located in their shared way of using images, since in both, images tend to be deployed much more as communicational tools than as representational texts. The paper concludes by placing this argument in the context of recent discussions about the production of sociological knowledge in the wider social field.     

Bourdieu,ethics and symbolic power

This article critically discusses Pierre Bourdieu's views on ethics and normative evaluations. Bourdieu acknowledged that people hold ethical stances, yet sought to show that these stances are – unconsciously – conducive to obtaining symbolic power and legitimizing hierarchy. The first part of the article looks at this argument and charts the shifts it went through particularly in the early 1990s. The second part discusses ontological and empirical critiques of the ethics as ideology argument and suggests the latter to be more salient, as Bourdieu proposed his argument as an empirical rather than as an ontological point. The reason why he nevertheless found the ethics as ideology explanation fitting to nearly all the cases he studied, as the third part argues, is not simply that reality ‘obliged’ him to do so, but his circular definition of symbolic capital as qualities that are worthy of esteem. This definition makes his argument of ethics as ideology unfalsifiable and impedes him from distinguishing between cases when legitimate power is the aim of ethics and between those when it is merely their side effect. The article concludes by suggesting ways in which Bourdieu's work can be fruitfully incorporated into the study of ethics once the tautology is resolved.     

Selling the cryptosphere in China

ABSTRACT

China, one of the world’s most clandestine states, is currently engaged in moves to make state secrecy a matter of public policy, even inaugurating a ‘National Security Education Day’ in 2016. This article explores some recent campaigns about spy-catching to show how the state is using crowdsourcing, content marketing, and prosumerist gambits to sell an emergent social space of civic duty that I term the cryptosphere. Inciting civic participation is a particularly deft tool for propaganda work of this kind, which pivots on performative ideology. The ostensible purpose of these campaigns is to enlist the Chinese people in the securitization of the state, but in practice this is a highly disingenuous move given that the realm of the classified in China is so vast that ‘keeping secrets’ can only be perfunctory for almost all of its citizens. So far, commentators outside China have either been amused by the state’s new forays into infographics and mash-up videos, or critical of their xenophobic messaging. But the state’s apparently light-hearted drive to remind the Chinese people of the need to track spies is only peripherally about foreigners. It is occurring at a time when the government is also trialling a vast algorithmic grab on its own citizens’ personal data via the social credit system; operating a CCTV surveillance regime of more than one million cameras; and conducting mandatory biometric profiling in Xinjiang using DNA, blood types, iris scans, and fingerprints. These policies, I argue, constitute the exoskeleton of the cryptosphere. But this new sphere also needs its soft padding. Propaganda campaigns which school subjects on how to perform the role of loyal ‘informants’ – at the very moment that their own information is increasingly being expropriated by the state – are providing just this kind of thought work cushion.     

THE WORK OF (CREATING) ART

While engaging the process of artistic creation at the Creative Growth Art Center (CGAC) in San Francisco, California, Judith Scott produced numerous enigmatic three-dimensional fiber and mixed media sculpture pieces that subsequently received international attention. Approaching Scott's life and art from the perspective of Disability Studies – understood as an expressly political project – takes us beyond the limitations of the label of Art Brut/Outsider Art and of questions of artistic communication to properly situate her activities at the CGAC as work in both a social and economic sense. Judith's story – and her representation in a recent Spanish documentary film by directors Lola Barrera and Iñaki Peñafiel – suggests that in aspiring to achieve greater social and economic inclusion for such marginalized populations we must challenge the pervasive clinical paradigm that frames disability as lack and go further by cultivating sustainable, meaningful work experiences, such as that offered by the CGAC to people with developmental disabilities. Ultimately, creating art has the potential to be such a form of meaningful work.     

Elements of surveillance: A new framework and future directions

This article argues for a wider conceptualization of the meaning and significance of surveillance in contemporary social studies. It has been written in the context of recently published work by Lyon (2001, 2002) who establishes a powerful argument illuminating the social and technical interconnectedness of surveillance systems, and the invisibility of their social ordering effects, in everyday life. The article is divided into two parts. The first examines recent empirical work concerning two domains of surveillance practice, which are significant, and typical of the research findings in these areas of study. The first surveillance practice is that of CCTV in public space, and the second is that which occurs in the workplace. The second part, mindful of Lyon's (2001, 2002) arguments, analyses the recently published work to examine broader ways in which we might want to conceptualize surveillance. It argues that it comprises four elements: representation, meaning, manipulation and intermediation which interact to form 'surveillance domains', and, at a local level, are contested, politicized places. Highlighting the role of intermediation, it uses this framework as the basis of an applied research strategy into everyday surveillance practices.     

Looking at Digital Art: Towards a Visual Methodology for Digital Sociology

Over the last decade there has been a call for a new kind of sociological gaze, a digital sociology for a digital age. Has there been fundamental change in the key principles, the nature, and functions of social life in a digital age? In social and cultural theory, there is a long history of looking at how technology transforms art. In this article, I will use the medium of digital art to consider the unique nature of the digital age, the demand for a digital sociology, and the interrelated speculative imagination of such claims. Broadly situated within the sociology of art the methodological contribution of this article is to offer an analysis of artworks themselves, via the construction of a digital visual methodology. What digital culture, politics, and revealed in digital art? How can looking at digital art expand the tools for understanding digitally mediated lives?     

Jews in Belorussia's judicial system, 1944–1953

The relationship and cultural transfer between Jews and Belorussians are still rather unexplored topics. This article aims at analysing a historical process neglected by the historians of both the Jewish people and the Soviet Union: the “Belorussianisation” of the Jewish people in the interwar period. It proposes to scrutinise the impact of the nationalities policy on the crystallisation of a Belorussian‐Jewish identity. On the one hand, it is obvious that Belorussian leading political figures, influenced by Jewish intellectuals, proved to be very favourable to the development of the Jewish culture and to a Jewish‐Belorussian rapprochement. On the other hand, this study suggests that the achievements of the Soviet nationalities policy with regard to the “Belorussianisation” of Jews were ambiguous. In the three fields studied – education, scholarship and art – the results appeared to be mitigated and paradoxical. The “indigenisation” policy led to a separation of the Jewish and Belorussian educational system but stimulated the flourishing of a joined Belorussian‐Jewish scholarship. In contrast, the most profound and fruitful encounter between the Jewish and Belorussian cultures occurred in a domain, the visual arts, where the Belorussian government did not set a clear policy of rapprochement.     

Texts,images and display conventions in sociology

This essay examines the problem of presentation of the photographic project in visual sociology. The discussion begins with Barthes' analysis of the relationship between text and image. It then addresses conventions of sociology and art, showing how these disciplines offer alternative solutions to the problem of display. Finally, a review of an exhibit of the work of visual sociologists illustrates the operation of conventions, which, seen from Barthes' perspective, appear problematic.