Surveillance by any other name? Understanding counter-surveillance as critical discourse and practice

Abstract

In 2008, an exhibition center in Northern Spain hosted a project called Situation Room which tried to recreate an “open” control room drawing, on the one hand, on the experience of previous hacklabs or medialabs set up by social movements, and, on the other, on an operations room designed in the 70s in order to gather and analyze economic data to organize the Chilean economy under Salvador Allende’s government, called Project Cybersyn. The fact that an artistic/activist project would use a government initiative of surveillance as a reference brings to the fore questions about what it means to subvert the surveillance society, and the limits of privacy in the information society. What is identified as the problem in critical discourses, the ability to monitor people’s everyday moves and store personal data or the aims of surveillance? Or maybe it is the ideology or political affiliation of the surveillants that makes the difference? Are there instances in which the massive storage of personal data could be justified? Is all surveillance wrong or can control and data-mining be put to the service of dissent or the common good? This paper explores how definitions of counter-surveillance, sousveillance , privacy and data protection have been theorized in the existing literature and artistic practices and confront them with recurring themes in critical surveillance studies.

Keywords

• surveillance, art, privacy, power, politics, sousveillance, medialabs