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Espionage and dataveillance technologies: perspectives on sound surveillance in surveillance art practices
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Resumo(s)
This article explores the relationship between art and surveillance technologies, with a particular focus on the sonic dimension of surveillance and its intrinsic connection to espionage. Beginning with an introduction to Foucault’s conception of surveillance as a mechanism of control over bodies and behaviors, the paper argues that, in contemporary society, this practice has become increasingly sophisticated through the voluntary collection of digital data and what Rouvroy and Berns term “algorithmic governmentality.” The second section discusses the development of surveillance technologies and their social impacts, illustrated by examples from surveillance art, including works by Bruce Nauman, Jill Magid, and Marie Sester. The third section addresses sound surveillance as a less explored domain compared to visual surveillance, analyzing it both theoretically and through artistic practices. Here, the studies of Dimitrios Pavlounis and Audrey Amsellem are highlighted, alongside artworks situated within the concept of surveillance art, such as Roslyn Orlando’s and Kyle McDonald and Brian House’s art- works, which critically examine the vulnerability of sonic privacy perpetuated by major technology and communication companies. The article contends that sound surveillance remains strongly associated with espionage and illegality, in contrast to the normalization of visual surveillance propagated by CCTV systems. Finally, the paper cautions that the increasing integration of AI and automation into everyday life entails the acceptance of more invasive forms of surveillance and bodily control.
Descrição
Palavras-chave
Surveillance art Sound surveillance Artificial intelligence Espionage
Contexto Educativo
Citação
Editora
Association for Computing Machinery (ACM)