...Jennifer Rhee This essay examines the relationship between surveillance and opacity through artist Adam Harvey's “Anti-Drone” wear, clothing that evades drone surveillance and is part of his Stealth Wear (2013) project. Through an engagement with opacity, the author argues that “Anti-Drone” wear's...

... and a material condition to address issues of surveillance, the nonhuman, and contemporary art. Jennifer Rhee considers clothing that evades drone detection, while Zach Blas and Jacob Gaboury discuss biometric facial recognition and masked protest. Jasmina Tumbas and Jemima Wyman claim camouflage as a...

...Lisa Nakamura Images of biometric screens are becoming increasingly common in television and film, particularly in genres such as police procedurals, “terror” television programs, and medical dramas. Digital surveillant screens establish and produce authority and scientific truths about national...

... transformation, it was also often the precondition for varieties of hostility, alienation, violation, and surveillance. I conclude with Horne's self-revision of these aloof performances as she articulated a new relationship with her audiences during the civil rights movement and after. Camera Obscura 2008...

... of visibility in an age of pervasive surveillance, Blas and Gaboury look to the work of artists and critical thinkers who offer alternate modes of veiled, obscured, or otherwise negotiated being in the world. Focusing on Blas's own work, the conversation interrogates what Blas terms “informatic...

... collaborative interventions as well as the feminist and activist legacies that inform her video, performance, and installation works. For Wyman, opacity and camouflage enable collective emancipatory action in a time of contemporary neoliberal forms of surveillance, as seen in the practices of Pussy Riot members...

... control. I begin this conversation by exploring how a body of work in media theory has mobilized the terms of the psychoanalytic model of scopophilia to critique today’s intensification of surveil- lance. In the intellectual tradition of pessimists like Theodor W. Adorno, Jean...

... Eloquence ofthe Vulgar: Language, Cinema, and the Politics of Culture by Colin MacCabe. British Film Institute, 1999. The Seventies Now: Culture as Surveillance by Stephen Paul Miller. Duke UP, 1999. Mosiac: A Journal for the Interdisciplinary Study of Literature Part One: Establishing Frameworks. U...

... technological scale? Through the following consideration of X-ray technology in the context of public health campaigns against tuberculosis and breast cancer, I hope to show that, while the new medical imaging technologies are without question being used as a form of surveillance...

..., the woman-house in whom gender and architecture, body and commodity, surveillance and spectacle find physical form. To do so, it reads this creature as primarily an architectural structure, but one that is intentionally made unstable. It seeks to measure the "fantasy...

... city in which racial and class polarization wears the highly public face of sophisticated security and surveillance systems." Within this segregated urban space, gangs have become the fulcrum of social activity in communities such as Comp- ton, Echo Park, Watts, and MacArthur Park. The gang is...

... makeover programs as offering “a form of a Reithian legacy that has negotiated with the Thatcherite legacy of the com- modification of popular taste.”11 In a discussion of fashion make- overs, Gareth Palmer argues that “the concepts of both lifestyle and surveillance are part of a new discursive...

... heteronormative ideals. Figure 1. A surveillance camera captures a view of the McMansion featured in Paranormal Activity 2 (dir. Tod Williams, US, 2010). Occult Anxieties and the Recessionary Imaginary in the Paranormal Activity Franchise Linda Liu According to the prevailing theory of...

... films of Chantal Akerman, July’s work traffics in both the severe and the banal conditions of contemporary life: environ- mental illness, family dynamics, obsolescing technology, surveil- lance, and medical experimentation. In her live performances Love Diamond (1998) and The Swan Tool (2001), the...

...- ably Romantic conclusion, a dance of death and apotheosis. Margaret, as a character, is controlled by a larger system of surveil...

... surveillance is heavily invested in monitoring physical and national boundaries. As a result, the films produced by interna- tional health organizations compulsively pose (and attempt to solve) the problem of visualizing invisible contagions. Within this archive of films, the human body is a recurring object...

..., was the peculiar similarity between this ‘ ‘underground, ” almost clandestine space (which some unsuspecting visitors even missed)-a space well-suited for spying-and the fictional reality of the images recorded by surveillance cameras. Given its context, the work was at the very least...

... has led in the past to discrete practices of surveillance and con- trol. Taking the Children’s Matinee Movement as his case in point, deCordova demonstrates how that movement used notions of victim- ization to justify its policing of children’s entertainment, and he shows...

... humanity, as the unseeing witnesses to war and technologies of death, and, second, as a biopolitical dilemma, psychically dam- aged and physically partial refugees, whose deviations from the physiological norm bring them under medical surveillance in the Camera Obscura 76, Volume 26, Number 1...

... robbery sequence ends that we begin to learn who Lenny is, what SQUID does, and why Lenny’s use and distribution of SQUID is illegal. The SQUID technology has been outlawed because some users have transformed a governmental surveillance technology into a private, recreational drug technol- ogy, and...