[00:00.020 --> 00:01.280]  Come on.
[00:01.420 --> 00:01.880]  Come on.
[00:04.690 --> 00:05.170]  Seriously?
[00:06.890 --> 00:08.230]  I'm on this.
[00:08.650 --> 00:09.230]  Sorry about that.
[00:16.750 --> 00:17.670]  Oh, that's terrible.
[00:17.850 --> 00:18.670]  Okay, I'm gonna refresh this.
[00:19.030 --> 00:21.830]  I know, right?
[00:22.590 --> 00:23.590]  God, that's annoying.
[00:26.250 --> 00:27.590]  Jesus, it might be better.
[00:31.870 --> 00:34.150]  Okay, so the Internet's out for a second, I guess.
[00:36.390 --> 00:37.290]  It's coming back.
[00:39.070 --> 00:39.730]  Give me a moment.
[00:40.030 --> 00:40.450]  Loading.
[00:43.430 --> 00:44.870]  Did somebody just take down the network?
[00:45.190 --> 00:45.810]  Come on, guys.
[00:46.210 --> 00:47.170]  Second talk of the day.
[00:47.430 --> 00:47.950]  Couldn't wait.
[01:15.070 --> 01:16.630]  Do we have hardware in here?
[01:17.470 --> 01:18.310]  That I can plug into?
[01:27.170 --> 01:27.590]  Okay.
[01:33.760 --> 01:34.120]  Okay.
[01:36.760 --> 01:37.340]  Hey, man.
[01:37.580 --> 01:38.000]  What are you doing?
[01:42.950 --> 01:43.790]  Yeah, give me your phone.
[01:44.990 --> 01:45.910]  Oh, I was taking a video.
[01:46.450 --> 01:47.270]  Oh, there.
[01:47.630 --> 01:47.970]  What do you mean?
[01:49.050 --> 01:49.890]  Oh, it's okay.
[01:50.530 --> 01:51.470]  Oh, it's not okay.
[01:52.450 --> 01:52.950]  Hey!
[01:54.030 --> 01:55.030]  Take off!
[02:07.210 --> 02:08.810]  Can I ask who you are?
[02:09.750 --> 02:09.970]  What?
[02:10.890 --> 02:11.990]  I'm taking a video.
[02:12.370 --> 02:12.790]  Of what?
[02:13.890 --> 02:14.550]  Just a video.
[02:15.390 --> 02:16.330]  Why are you taking a video?
[02:17.190 --> 02:17.890]  Why not?
[02:19.250 --> 02:22.310]  I don't really care for other people to just be taking a video.
[02:22.750 --> 02:24.150]  Didn't you just come out of the drugstore?
[02:24.530 --> 02:24.690]  Yeah.
[02:25.230 --> 02:26.090]  They have cameras in there.
[02:28.330 --> 02:28.730]  So...
[02:40.660 --> 02:41.320]  Excuse me.
[02:42.240 --> 02:42.740]  What's up?
[02:43.660 --> 02:44.540]  What are we doing here?
[02:44.840 --> 02:45.680]  Oh, I'm taking a video.
[02:46.620 --> 02:48.880]  I'd appreciate it if you'd go somewhere else with that, okay?
[02:49.240 --> 02:49.580]  Oh, it's fine.
[02:49.660 --> 02:50.140]  It's just a video.
[02:52.380 --> 02:53.380]  It's offensive to me.
[02:53.440 --> 02:53.780]  Excuse me.
[02:53.880 --> 02:54.770]  I'm trying to have a private conversation.
[02:55.480 --> 02:56.300]  Could you respect that?
[02:57.360 --> 02:57.680]  And...
[02:57.680 --> 02:58.560]  She just didn't get it.
[02:58.620 --> 02:59.280]  It's just a video, man.
[02:59.420 --> 02:59.940]  I hear you.
[03:00.280 --> 03:00.600]  Okay.
[03:00.740 --> 03:02.080]  I'm having a private conversation.
[03:02.100 --> 03:03.120]  Would you please move?
[03:03.120 --> 03:03.220]  Leave.
[03:03.340 --> 03:04.160]  It's just a video.
[03:05.160 --> 03:05.600]  Alright.
[03:05.860 --> 03:07.400]  Do you not understand what I'm saying?
[03:07.740 --> 03:09.260]  It's a private conversation.
[03:10.120 --> 03:10.280]  Alright.
[03:10.420 --> 03:10.700]  Calm down.
[03:11.140 --> 03:11.460]  Leave.
[03:11.920 --> 03:12.480]  Calm down.
[03:12.740 --> 03:13.060]  Leave.
[03:13.440 --> 03:13.960]  It's just a video.
[03:16.060 --> 03:16.920]  F*ck you.
[03:17.580 --> 03:18.400]  You got it?
[03:19.520 --> 03:21.220]  And the horse you rode in on.
[03:21.760 --> 03:22.280]  Geez.
[03:22.820 --> 03:24.520]  She had no respect for anybody.
[03:26.380 --> 03:27.100]  What are you gonna...
[03:32.760 --> 03:33.280]  Where...
[03:33.280 --> 03:34.480]  What's that other network called?
[03:36.420 --> 03:37.060]  Okay.
[03:38.480 --> 03:39.120]  Thank you.
[03:45.940 --> 03:47.640]  Can you follow me around now?
[03:51.170 --> 03:52.830]  Jesus f*cking Christ.
[03:57.830 --> 03:58.270]  Hello.
[03:58.810 --> 03:59.090]  Hey.
[04:02.230 --> 04:03.050]  I'm white.
[04:03.670 --> 04:04.070]  Huh?
[04:04.290 --> 04:05.070]  I'm white.
[04:05.650 --> 04:06.570]  Why do you say that?
[04:06.970 --> 04:08.450]  Not an African driver.
[04:08.890 --> 04:09.510]  Yeah, sir.
[04:09.690 --> 04:10.030]  Sorry.
[04:10.470 --> 04:11.850]  You need to go.
[04:11.990 --> 04:12.110]  No.
[04:12.390 --> 04:12.690]  Sir.
[04:12.970 --> 04:13.090]  No.
[04:13.630 --> 04:13.690]  No.
[04:13.690 --> 04:13.770]  No.
[04:14.910 --> 04:16.330]  There's an arrest that's going on.
[04:16.470 --> 04:17.130]  You need to go.
[04:17.310 --> 04:18.350]  Somebody help!
[04:19.690 --> 04:20.690]  Somebody help!
[04:29.140 --> 04:29.640]  Somebody!
[04:30.180 --> 04:30.660]  Stop!
[04:32.820 --> 04:33.200]  Stop!
[04:33.660 --> 04:33.820]  Stop!
[04:33.820 --> 04:34.380]  I'm at the...
[04:34.380 --> 04:35.460]  North Street Security.
[04:35.640 --> 04:36.420]  Can you get that camera out?
[04:41.100 --> 04:41.400]  Okay.
[04:41.480 --> 04:42.040]  Barbara, please.
[04:43.420 --> 04:47.030]  All right.
[04:47.590 --> 04:47.890]  Wait.
[04:48.210 --> 04:50.670]  In that situation, you seem not big that girl.
[04:50.910 --> 04:51.590]  That big girl.
[04:52.910 --> 04:53.410]  Goddamn.
[05:47.630 --> 05:48.350]  What happened?
[05:49.010 --> 05:50.670]  Get the f*ck out of here!
[05:54.260 --> 05:54.980]  What the...
[05:54.980 --> 05:56.000]  Are you f*cking nuts?
[05:59.750 --> 06:01.310]  Man, what a dumb f*ck.
[06:04.210 --> 06:05.950]  You don't look like a dumb f*ck.
[06:10.250 --> 06:11.050]  You don't look like a dumb f*ck.
[06:11.210 --> 06:21.630]  So, surveillance cameraman, he has about seven videos on YouTube and they're all sort of like this style of just like shoving a camera in somebody's face and being like, I'm just taking a video.
[06:22.510 --> 06:23.510]  I'm just taking a video.
[06:23.650 --> 06:24.010]  That's it.
[06:24.390 --> 06:24.510]  You know?
[06:24.650 --> 06:28.110]  And like, people react really violently and it's quite hilarious.
[06:29.930 --> 06:35.810]  So, I mean, this is sort of starts the talk and about what we're kind of talking about.
[06:35.810 --> 06:37.230]  And what this looks like.
[06:37.470 --> 06:38.990]  So, the first thing...
[06:38.990 --> 06:40.710]  Do people know Jeremy Bentham?
[06:41.690 --> 06:45.170]  He's an interesting dude from like the 1700s.
[06:45.290 --> 06:47.250]  Came up with lots of... wrote philosophy.
[06:47.590 --> 06:50.610]  He came up with this concept of the Panopticon.
[06:51.290 --> 06:52.810]  Which is this prison design.
[06:52.870 --> 06:56.010]  So, it's a huge circle as you can see here in this illustration.
[06:57.170 --> 06:58.210]  It's a...
[06:59.090 --> 07:03.190]  It's a building where all of the prisoners are kept on the outside walls.
[07:03.190 --> 07:05.830]  And there's a window in each cell.
[07:06.010 --> 07:08.630]  And then there is a guard in the middle.
[07:08.830 --> 07:14.630]  Who can at a moment's glance see every single prisoner in their cells.
[07:14.850 --> 07:16.530]  Because of the light coming in through the window.
[07:16.690 --> 07:24.030]  And he designed this as sort of a perfect prison to keep prisoners in line.
[07:24.530 --> 07:26.030]  His quote is...
[07:26.950 --> 07:33.170]  I flatter myself that there can now be little doubt of the plans possessing the fundamental advantages I have been attributing to it.
[07:33.270 --> 07:35.730]  I mean the apparent omnipresence of the inspector.
[07:35.990 --> 07:37.290]  If divine...
[07:37.290 --> 07:38.630]  Since we'll allow me the expression.
[07:39.010 --> 07:41.310]  Combined with the extreme facility of his real presence.
[07:41.310 --> 07:45.930]  So, this prison plan was...
[07:46.630 --> 07:50.270]  It made it so that the guard didn't actually have to be watching you.
[07:50.270 --> 07:51.570]  For you to be...
[07:51.570 --> 07:54.550]  Or the prisoner to be subservient.
[07:55.630 --> 07:57.450]  And this idea...
[07:57.450 --> 08:00.610]  It was never really implemented in any way in his lifetime.
[08:00.850 --> 08:05.110]  But this idea of the panopticon is really useful when talking about surveillance.
[08:05.110 --> 08:18.590]  Because it's this idea that these technologies and these apparatuses can come together to enforce a security or subservience that doesn't have to actually exist.
[08:19.870 --> 08:20.970]  Here's a picture of him.
[08:21.150 --> 08:22.570]  He's in a box.
[08:24.370 --> 08:25.330]  And preserved.
[08:25.650 --> 08:26.490]  The Jeremy Bentham is.
[08:27.170 --> 08:28.510]  He has a wax head now.
[08:28.630 --> 08:29.550]  It was supposed to be his real head.
[08:30.090 --> 08:31.390]  You should read up about him.
[08:31.450 --> 08:32.650]  He's kind of cool and kooky.
[08:34.870 --> 08:37.170]  So, drawing on the panopticon.
[08:37.830 --> 08:38.790]  Michel Foucault?
[08:39.030 --> 08:39.310]  Anybody?
[08:40.410 --> 08:41.350]  Okay, cool.
[08:41.790 --> 08:43.150]  Somebody reads too much of philosophy.
[08:44.610 --> 08:45.730]  Great philosopher.
[08:46.190 --> 08:49.950]  He used the panopticon to sort of...
[08:49.950 --> 08:51.910]  As a metaphor for panopticism.
[08:53.210 --> 08:55.450]  And this is from his book, Discipline and Punish.
[08:55.590 --> 08:56.990]  Which, if you haven't read it, you should.
[08:57.130 --> 08:57.630]  It's awesome.
[08:58.770 --> 09:01.850]  And he says that the panopticon design was not unique.
[09:01.850 --> 09:04.410]  That it was a shift of consciousness.
[09:04.790 --> 09:05.530]  From spectacle.
[09:05.850 --> 09:07.250]  Which is the public life.
[09:07.750 --> 09:10.430]  To the focus on the individual and private life.
[09:12.770 --> 09:13.810]  To quote...
[09:13.810 --> 09:15.770]  He who is subjected to a field of visibility.
[09:16.010 --> 09:16.690]  And who knows it.
[09:16.790 --> 09:18.950]  Assumes responsibility for the constraints of power.
[09:19.270 --> 09:22.270]  He makes them play spontaneously upon himself.
[09:22.470 --> 09:24.870]  He inscribes in himself the power relation.
[09:24.870 --> 09:26.990]  In which he simultaneously plays both roles.
[09:27.070 --> 09:29.530]  He becomes the principle of his own subjugation.
[09:30.930 --> 09:33.890]  So, in our society or in societies.
[09:34.670 --> 09:38.750]  There's pretty much two ways that you can control a populace.
[09:38.990 --> 09:40.950]  This is, you know, what we all know and love.
[09:41.190 --> 09:43.050]  Is when cops punch you in the face.
[09:43.910 --> 09:45.650]  And this is, you know, very violent.
[09:45.910 --> 09:48.050]  Very, very showy, you know.
[09:48.050 --> 09:50.230]  You murder everybody at the protest.
[09:50.430 --> 09:51.290]  And nobody's protesting.
[09:51.630 --> 09:52.910]  And then nobody does protest.
[09:53.890 --> 09:56.470]  This has a lot of complications.
[09:56.770 --> 09:57.910]  People usually don't like it.
[09:58.430 --> 10:00.770]  People are very angry when you kill all their friends.
[10:02.710 --> 10:07.650]  And so, there's this other way, though, that you can control bodies in this way.
[10:07.710 --> 10:11.230]  And it's through this watching of everybody.
[10:11.230 --> 10:14.850]  And this, the panopticism technique.
[10:14.850 --> 10:19.050]  Where the people are watched and they know they're being watched.
[10:19.130 --> 10:23.670]  But they don't actually have to be watched to be in control.
[10:23.950 --> 10:28.030]  So, the fact that we have cameras everywhere makes us not shoplift.
[10:28.030 --> 10:31.630]  Whether or not we know people are watching those cameras.
[10:32.210 --> 10:38.310]  Because the whole system works in this way to keep us in check, so to speak.
[10:39.630 --> 10:43.030]  The exercise of power is made much less explicit in this case.
[10:43.310 --> 10:47.250]  And it's more that you yourself are subjugating your body.
[10:47.390 --> 10:50.410]  As opposed to you getting physically restrained from doing a thing.
[10:52.710 --> 10:56.790]  With that, now we get on to the art valence.
[10:56.790 --> 11:01.790]  Which is this broad category that I've sort of split up into three subcategories.
[11:03.010 --> 11:04.470]  We have surveillance.
[11:04.830 --> 11:08.170]  Artists who engage with surveillance technologies explicitly.
[11:08.510 --> 11:12.370]  So, this would be artists who use security camera footage.
[11:12.370 --> 11:16.410]  Or use security cameras as an aesthetic.
[11:18.850 --> 11:22.710]  Surveillance, which is the inverse of that.
[11:22.710 --> 11:26.030]  So, you have those who are being watched doing the watching.
[11:26.270 --> 11:27.490]  So, do people know cop watch?
[11:27.790 --> 11:30.770]  This phenomenon in the United States and abroad.
[11:31.130 --> 11:34.650]  That's where people go out with cameras and film the police as they're doing.
[11:35.130 --> 11:36.950]  Like doing traffic stops and whatnot.
[11:37.210 --> 11:39.210]  And the cops usually get frustrated and walk away.
[11:40.010 --> 11:42.170]  And that's a really good example of surveillance.
[11:43.070 --> 11:45.550]  And then I have this other category, anti-surveillance.
[11:45.750 --> 11:59.390]  Which is sort of what I'm categorizing as explicit attacks or opposition to the surveillance apparatus.
[11:59.930 --> 12:00.510]  As it exists.
[12:01.150 --> 12:08.290]  The term art valence defines surveillance and the surveillance tools as the paint brush and the medium.
[12:09.090 --> 12:11.730]  And so, everything sort of boils down from that.
[12:11.970 --> 12:18.110]  And that you can start to peel back which artists are using these tools.
[12:18.630 --> 12:22.430]  And in these three categories that I've sort of put them into.
[12:25.930 --> 12:27.830]  So, this is our surveillance category.
[12:29.110 --> 12:30.430]  Everybody knows Bankski.
[12:31.430 --> 12:33.650]  He loves surveillance.
[12:34.410 --> 12:35.970]  You know, aesthetics.
[12:36.390 --> 12:38.210]  He uses a lot of cameras.
[12:38.370 --> 12:42.190]  He's very critical of CCTV in the UK.
[12:42.430 --> 12:44.290]  Which is pretty much his influence.
[12:45.390 --> 12:48.510]  This was a piece at LACMA.
[12:48.630 --> 12:53.430]  Which is the LA contemporary museum in LA.
[12:53.990 --> 12:55.930]  And this is called Security Birds.
[12:56.690 --> 12:57.970]  I'll just play the video for you.
[13:41.180 --> 13:42.700]  So that's, you know, very cute.
[13:43.220 --> 13:44.260]  You have little birdies.
[13:45.820 --> 13:49.580]  And then in that same piece he has this bird that's just like in a Styrofoam container.
[13:51.660 --> 13:53.640]  And this is a really good piece as well.
[13:54.520 --> 13:57.140]  It's a stencil in front of a security camera going, what are you looking at?
[13:57.140 --> 14:03.300]  Sort of asking the question to the camera itself and turning that into the subject of the art.
[14:03.600 --> 14:04.300]  Which is pretty cool.
[14:05.440 --> 14:12.280]  There was another piece he did that was a security camera mobile over a crib that I really like.
[14:13.160 --> 14:16.600]  These are all examples of this aesthetic.
[14:17.520 --> 14:23.320]  To go into more engaging with security cameras explicitly.
[14:23.960 --> 14:26.220]  We're going to go on to the Institute for Applied Autonomy.
[14:27.280 --> 14:28.720]  Which they operated in New York.
[14:28.860 --> 14:30.080]  Do people know them?
[14:31.060 --> 14:32.960]  They did a project called IC.
[14:33.680 --> 14:36.000]  And I'll play the video and then talk about it a bit.
[14:45.240 --> 14:57.720]  Since 1998, the Institute for Applied Autonomy has developed technologies that enable average citizens, political protestors, and the functionally paranoid to defend their way of life.
[14:58.820 --> 15:04.520]  Closed circuit television or CCTV surveillance of public space is on the rise.
[15:04.520 --> 15:13.820]  Using cameras installed on buildings, ATM machines, and traffic lights, police officers and private security guards monitor our every move.
[15:14.320 --> 15:20.480]  A 1998 survey documented over 2,400 cameras in New York City's public places.
[15:20.880 --> 15:25.100]  Since then, the number has continued to skyrocket with more cameras on the way.
[15:25.660 --> 15:30.880]  It has become virtually impossible to avoid CCTV's prying eyes.
[15:30.880 --> 15:32.800]  Until now.
[15:33.260 --> 15:45.800]  Using advanced artificial intelligence technology, the Institute for Applied Autonomy has developed ISEE, an inverse surveillance system that helps people track and avoid CCTV cameras.
[15:46.320 --> 15:52.700]  Visitors to the ISEE website are presented with a map of New York City highlighting surveillance camera locations.
[15:53.160 --> 15:59.980]  Predictably enough, the majority are in areas of great financial value, such as Midtown and the Financial District.
[15:59.980 --> 16:03.800]  Even though street crime is more prevalent in low-income neighborhoods.
[16:04.460 --> 16:15.960]  Users click the map to indicate a current location and a desired destination, and ISEE's route planning algorithm provides a path of least surveillance, avoiding as many cameras as possible.
[16:16.240 --> 16:18.820]  This map may be printed out for later use.
[16:19.400 --> 16:30.040]  Since its launching in October of 2001, ISEE has produced well over one million unique maps, and has been extended to Manhattan, Amsterdam, and Ljubljana.
[16:30.300 --> 16:43.120]  In addition, ISEE has provoked public debate over CCTV use in such publications as Wired Magazine, and the London Financial Times, and on websites including Slashdot and Fox News.
[16:43.500 --> 16:48.620]  ISEE is also featured on Yahoo's Travel and Transportation Guide to New York City.
[16:48.620 --> 16:57.420]  In August of 2002, the IAA released an updated ISEE client optimized for mobile and wireless devices.
[16:57.780 --> 17:09.730]  This version allows ISEE to also function as a data collection tool, enabling groups of users to quickly and easily create and share maps of their city's surveillance infrastructure.
[17:11.490 --> 17:13.510]  ISEE, now more than ever.
[17:20.860 --> 17:29.300]  So, this project was really surrounded around the idea that you could make paths of least surveillance, as I said in the video.
[17:29.920 --> 17:45.080]  And you could actually get from point A to point B without being on camera, which was really hard in New York, and it's probably even harder now, harder in London, where we have like the biggest concentration of CCTV cameras.
[17:45.980 --> 17:49.780]  And this project influences a lot of contemporary projects.
[17:49.920 --> 17:55.600]  I know that there's a security camera tracking project in Oakland right now that's trying to do the same thing.
[17:55.720 --> 17:57.400]  It's like, where do these cameras exist?
[17:57.440 --> 17:58.500]  Because you don't always see them.
[17:58.760 --> 18:03.760]  And so going out into the field and being able to mark these cameras is particularly useful.
[18:04.400 --> 18:07.300]  So you can travel freely without being on film all the time.
[18:08.080 --> 18:13.580]  And sometimes you want to be on film, though, because you want to make a statement about these cameras.
[18:13.820 --> 18:31.900]  And that's where I'm going to go to another New York group called the Surveillance Camera Players, who are... they did... this is their rendition of a... a rendition of 1984 that they did, utilizing the subway system surveillance cameras.
[20:28.010 --> 20:28.550]  could be done in the background, but they won.
[20:28.550 --> 20:29.630]  it's my partner in the scene one.
[20:29.970 --> 20:30.790]  Tell me what you see.
[20:32.350 --> 20:35.570]  I ask what you are doing here.
[20:35.930 --> 20:36.290]  What?
[20:36.590 --> 20:37.650]  I ask you what you are doing here.
[20:37.910 --> 20:39.030]  I'm just taping this.
[20:39.410 --> 20:39.930]  What is it?
[20:40.090 --> 20:40.570]  What do you taping?
[20:40.710 --> 20:41.330]  What do you taping?
[20:41.430 --> 20:43.850]  It's their players.
[20:44.790 --> 20:46.130]  Do you have a permit to do this?
[20:46.910 --> 20:47.310]  Apartment?
[20:47.470 --> 20:48.030]  Do this here?
[20:48.250 --> 20:48.690]  Yeah, do you?
[20:49.650 --> 20:51.170]  I don't mah importantly take this.
[20:51.170 --> 20:52.790]  What're they doing, actually?
[20:52.990 --> 20:53.310]  What are they doing?
[20:53.510 --> 20:55.170]  Yeah, I think you... What?
[20:55.270 --> 20:55.810]  What are they actually doing?
[20:55.810 --> 20:56.630]  What apartments do this way?
[20:56.790 --> 20:57.250]  No, no?
[20:57.250 --> 20:57.570]  They don't?
[20:57.650 --> 20:57.830]  No?
[20:58.690 --> 20:59.050]  What?
[20:59.530 --> 21:00.430]  This is public space!
[21:00.870 --> 21:01.150]  What's that?
[21:01.230 --> 21:02.170]  You understand.otiations are right?
[21:03.970 --> 21:04.430]  Where's this?
[21:04.570 --> 21:05.050]  Down at the ramp?
[21:05.290 --> 21:06.090]  Yeah, down there!
[21:09.540 --> 21:10.040]  Yeah, I don't know.
[21:10.380 --> 21:11.820]  You see what's going on down the ramp?
[21:14.180 --> 21:14.540]  Oh.
[21:15.100 --> 21:15.300]  Yeah.
[21:15.700 --> 21:16.760]  Can you tell the cops are coming?
[21:17.060 --> 21:17.420]  Yeah.
[21:17.540 --> 21:18.140]  They went the wrong way.
[21:18.160 --> 21:18.920]  Everybody get it, please.
[21:19.040 --> 21:19.540]  Joe...
[21:21.340 --> 21:21.980]  Close over.
[21:22.020 --> 21:22.580]  Everybody get out.
[21:25.260 --> 21:25.940]  Don't go over.
[21:25.940 --> 21:26.480]  Everybody stop.
[21:26.580 --> 21:27.220]  Out, out, out.
[21:27.580 --> 21:28.860]  There's no business at this station now.
[21:30.960 --> 21:32.700]  We ain't got no permit to do that.
[21:38.460 --> 21:39.760]  What's happening over there?
[21:41.740 --> 21:42.660]  Hey, brought me in.
[21:42.720 --> 21:43.100]  Tribulation.
[21:44.480 --> 21:45.000]  Thank you.
[21:47.760 --> 21:49.600]  Is that working in the middle of a movie?
[21:50.800 --> 21:51.280]  Yeah.
[21:51.280 --> 21:53.280]  The surveillance camera players.
[21:54.880 --> 21:55.360]  Oh.
[21:55.360 --> 21:57.360]  So why are you saying like something is going on?
[21:57.660 --> 21:59.300]  It could have been real, clunk.
[22:00.620 --> 22:01.480]  That's a joke.
[22:03.580 --> 22:05.000]  So why are you guys doing this?
[22:05.960 --> 22:10.600]  Um, to show that there's surveillance cameras everywhere you try.
[22:11.020 --> 22:12.660]  Yeah, but who doesn't know that?
[22:13.360 --> 22:13.840]  I know.
[22:15.460 --> 22:16.420]  It's like a joke.
[22:16.660 --> 22:17.300]  It is a joke.
[22:17.300 --> 22:18.840]  Man, everybody knows.
[22:19.180 --> 22:19.520]  I know.
[22:20.200 --> 22:21.480]  That's why they're...
[22:21.480 --> 22:21.960]  Yeah.
[22:23.960 --> 22:25.860]  What if he's like stupid to do in the movie?
[22:26.600 --> 22:27.440]  End of story.
[22:59.320 --> 23:02.980]  So the surveillance camera players did a lot of this work.
[23:02.980 --> 23:06.320]  They have a bunch of their stuff online in video form.
[23:06.500 --> 23:08.840]  I invite you to check them out and explore them.
[23:10.000 --> 23:10.400]  Yeah.
[23:10.820 --> 23:15.680]  They did a lot of plays and they've done a lot of work against surveillance cameras and surveillance.
[23:16.420 --> 23:21.200]  The next artist I'm talking about is ambient information systems.
[23:21.720 --> 23:27.480]  And this is probably one of my favorite pieces conceptually in this talk because...
[23:27.480 --> 23:38.120]  Um, so this is, uh, Mukul Patel and Manu Lukush compiled a document called the Manu Festo for CCTV Filmmakers.
[23:38.680 --> 23:45.040]  Uh, the duo made it clear that their films are going to use exclusively the footage from CCTV cameras.
[23:45.400 --> 23:56.600]  Um, so, I didn't know this before doing this research, in the UK, you can actually get a court order to obtain surveillance footage of which you are a subject.
[23:57.740 --> 24:00.940]  And you get the footage back and it looks like this.
[24:01.600 --> 24:05.000]  Uh, everybody else's face is blocked out, um, but yours.
[24:05.360 --> 24:12.780]  And so you can say, if you're going through the train or you're going by a store and through this, you can actually get this footage and obtain it.
[24:12.860 --> 24:22.120]  And so, um, these two artists used this footage in, um, they made a dystopian sci-fi film completely using this footage.
[24:22.120 --> 24:29.940]  And so they, they had to film, by using the security cameras, all the footage of the film, and then obtain it through court orders and then edit it together.
[24:30.400 --> 24:33.660]  Um, here's the, the trailer of that, um, online.
[24:34.200 --> 24:35.800]  Um, we can watch that real quick.
[24:35.980 --> 24:38.640]  Um, it's, uh, narrated by, uh, Tilda Swinton, too.
[24:59.710 --> 25:02.370]  So, if the Internet will work, we will see this.
[25:16.460 --> 25:21.840]  The gated dream in which the past telescopes into the future.
[25:24.220 --> 25:33.920]  She has no understanding of these images that revisit her, that take her out of real time, out of her role in the new machine.
[25:37.240 --> 25:43.260]  Only later will she recognize them as nostalgia and resentment.
[27:30.480 --> 27:36.460]  So, the, the whole concept of this film is that there's a, a individual who lives in a faceless world.
[27:36.800 --> 27:41.220]  And she wakes up one day with a face and has to find somebody else with a face.
[27:41.360 --> 27:42.860]  And so that's the whole premise of it.
[27:42.980 --> 27:45.200]  And they, you can, you can find the whole film online.
[27:45.780 --> 27:46.940]  Um, it's a lot of fun.
[27:47.320 --> 27:54.140]  Um, so moving out of the surveillance, um, section of this, uh, we're gonna talk about surveillance.
[27:54.140 --> 28:02.140]  And, uh, this is the idea that, um, those who, um, are doing the watching can be watched themselves.
[28:02.580 --> 28:04.500]  And, um, and what this looks like.
[28:05.300 --> 28:07.420]  Um, first we're gonna talk about Steve Mann, Steven Mann.
[28:07.960 --> 28:08.860]  People know him, right?
[28:09.720 --> 28:10.060]  Yep.
[28:10.240 --> 28:11.140]  He's pretty famous.
[28:11.360 --> 28:16.500]  Um, you know, he does, his, his, uh, primary project that he's most famous for is the eye tap.
[28:16.500 --> 28:21.100]  Um, but this project is, um, uh, is a lot of fun.
[28:21.200 --> 28:21.920]  I'll just show you the video.
[28:22.040 --> 28:22.800]  It's called Shooting Back.
[28:37.680 --> 28:38.260]  Do you need help?
[28:38.720 --> 28:44.940]  Yeah, I was just wondering, what are those, those, uh, dark, uh, things up on the ceiling?
[28:46.020 --> 28:46.560]  Oh, those?
[28:47.360 --> 28:48.600]  That's just the AC system.
[28:49.080 --> 28:49.760]  Just the what?
[28:49.900 --> 28:50.740]  AC system.
[28:51.140 --> 28:52.720]  Oh yeah, like those dark hemispheres?
[28:53.620 --> 28:55.160]  Uh, up, up on the ceiling?
[28:55.620 --> 28:55.720]  Yeah.
[28:56.000 --> 28:57.380]  What do you mean by AC?
[28:57.540 --> 28:58.340]  They're just the temperature.
[28:58.340 --> 28:58.460]  Yeah.
[28:59.200 --> 29:00.960]  Oh, they're what, like temperature sensors?
[29:01.480 --> 29:01.500]  Uh huh.
[29:02.520 --> 29:02.840]  Oh yeah.
[29:03.160 --> 29:03.280]  Yep.
[29:04.980 --> 29:06.480]  For air conditioning or heating?
[29:07.020 --> 29:07.200]  Both.
[29:12.160 --> 29:13.560]  People don't know they're being filmed.
[29:13.760 --> 29:14.840]  This is hidden camera right now.
[29:23.440 --> 29:30.520]  Yeah, I was just wondering, um, what the dark, uh, thing up on the ceiling is that...
[29:30.520 --> 29:30.880]  I don't know.
[29:32.680 --> 29:33.440]  I have no idea.
[29:33.860 --> 29:34.000]  Hmm.
[29:35.180 --> 29:36.780]  Is it some kind of camera, maybe?
[29:36.820 --> 29:37.560]  Could be, I don't know.
[29:37.560 --> 29:39.200]  Sir, I answered your question.
[29:39.440 --> 29:40.140]  I do not know.
[29:42.420 --> 29:43.320]  Not sure what it is.
[29:43.440 --> 29:43.940]  Is there somebody...
[29:43.940 --> 29:44.340]  I'm not sure what it is.
[29:44.580 --> 29:46.120]  Is there somebody who might know what it is?
[29:46.220 --> 29:46.900]  Uh, security people.
[29:47.020 --> 29:50.020]  If you want to go down here as far as you can go, just talk to security people.
[29:50.200 --> 29:51.900]  Oh yeah, so it has something to do with security.
[29:52.220 --> 29:52.920]  I don't know, sir.
[29:53.600 --> 29:53.760]  Mm-hmm.
[29:53.780 --> 29:54.920]  I'm trying to put words in my mouth.
[29:54.920 --> 29:55.520]  I don't know.
[30:00.310 --> 30:01.870]  I don't know.
[30:03.490 --> 30:04.270]  I don't know.
[30:05.030 --> 30:05.330]  I don't know.
[30:07.930 --> 30:14.210]  Yeah, I was just wondering what that, that, uh, dark thing up on the ceiling is there.
[30:14.350 --> 30:16.630]  Those are cameras from security watching people.
[30:16.630 --> 30:17.310]  Oh yeah.
[30:17.550 --> 30:18.990]  Mm-hmm.
[30:19.770 --> 30:20.210]  Would...
[30:20.210 --> 30:23.230]  Don't you find they make customers feel uncomfortable though?
[30:23.570 --> 30:23.850]  No.
[30:24.330 --> 30:27.150]  Well actually, they probably make most people feel comfortable because they know...
[30:27.150 --> 30:27.710]  People feel safe.
[30:28.110 --> 30:28.490]  Yeah.
[30:28.690 --> 30:29.250]  Why is that?
[30:29.470 --> 30:30.930]  Because they're watching over you.
[30:31.050 --> 30:33.490]  If somebody's next to you with a gun or stealing, they'll know it.
[30:33.710 --> 30:34.970]  They'll come out and protect you.
[30:34.970 --> 30:35.390]  Yeah.
[30:35.590 --> 30:38.050]  But there's, might be some people who are camera shy or...
[30:41.730 --> 30:42.170]  Or...
[30:42.170 --> 30:44.990]  Unfortunately, the world that we live in today, we can't trust everybody.
[30:45.810 --> 30:50.310]  By them having security and stopping crime and criminals and stealing, keeps the prices now.
[30:50.790 --> 30:51.030]  Yeah.
[30:51.290 --> 30:54.190]  So it's, it's a matter of difficult to trust people, I guess.
[30:54.310 --> 30:55.570]  Yeah, they lost the world we live in.
[30:55.710 --> 30:57.350]  It's just, it's unfortunate, but you know.
[30:57.590 --> 30:57.830]  Yeah.
[30:58.630 --> 30:59.030]  Yeah.
[30:59.430 --> 31:06.590]  It says like the story you can trust, um, but yet it's sort of, isn't it ironic that there isn't, sort of, mutual trust.
[31:07.010 --> 31:08.270]  Not how the world is.
[31:10.350 --> 31:10.970]  That's right.
[31:11.170 --> 31:14.190]  Especially when you have presidents and the first ladies making crime.
[31:14.830 --> 31:15.070]  Yeah.
[31:15.270 --> 31:15.730]  I don't know.
[31:16.010 --> 31:17.570]  I guess anyone can be a criminal.
[31:18.010 --> 31:19.150]  Don't let the balls bother you.
[31:19.350 --> 31:19.670]  No, no.
[31:19.990 --> 31:23.190]  You don't think that cameras might make people feel uncomfortable?
[31:25.350 --> 31:28.810]  No, no, no, don't do that.
[31:28.810 --> 31:28.830]  Yeah.
[31:31.630 --> 31:37.090]  So, he goes into stores and just like, asks about the security cameras and people are like, uh, maybe I'll tell you.
[31:37.410 --> 31:44.910]  And then pulls out this like, you know, as you can see it, it's like a huge VHS camera, like, like, here, I'm filming you now.
[31:45.670 --> 31:46.270]  That's great.
[31:46.970 --> 31:55.630]  Um, so Steve Mann has of course, uh, the iTap project, um, which has, uh, has been his longest running, uh, uh, art project.
[31:55.850 --> 31:59.670]  Um, you know, people say it influences Google Glass.
[31:59.970 --> 32:00.690]  I expect to differ.
[32:01.150 --> 32:06.190]  Um, I would say that, that Steve Mann is sort of, it's the anti-Google Glass.
[32:06.350 --> 32:15.850]  Like, he's, he's, um, taking, taking this idea of, of, of surveying, of being surveilled all the time and, and turning that back.
[32:15.910 --> 32:17.610]  And he's been wearing this device since the seventies.
[32:17.770 --> 32:23.130]  And there's, you know, of course, absurd iterations of it with a huge television, um, antenna on it.
[32:23.130 --> 32:30.270]  And it's actually, like, the contemporary models look like, oh, I could actually, like, look at you instead of being freaked out by you.
[32:30.490 --> 32:37.870]  But, um, uh, this, uh, device actually, um, caused a bit of controversy in a, in a Paris, um, McDonald's.
[32:38.110 --> 32:45.450]  Um, he was assaulted, uh, while wearing the device by, um, some workers there because they didn't want him to film the menu.
[32:46.290 --> 32:50.950]  Um, and so they, like, grabbed at him and it's, like, it's, like, bolted to his head.
[32:51.070 --> 32:52.430]  Like, you can't just, like, take it off.
[32:52.430 --> 32:54.610]  So it's, like, they're, they're assaulting him.
[32:54.790 --> 32:58.150]  And through this experience, he came up with this, uh, term, uh, McValance.
[32:58.630 --> 33:04.850]  Um, and it's the, the, um, the amount of surveillance divided by the amount of Sue-Valance.
[33:04.970 --> 33:12.510]  So the amount of surveillance, which is us being watched, divided by the amount of, um, uh, Sue-Valance, which is us watching the Watchers.
[33:12.510 --> 33:20.050]  Um, and he said that the more McValance there is, that's the, the more corrupt of the, of the society that we'll be in.
[33:20.430 --> 33:32.270]  Um, and then he came up with this, uh, cool graphic of, like, you know, how all of the, the, the directionality of surveillance surveillance versus Sue-Valance and anti-surveillance and anti-McValance.
[33:32.390 --> 33:34.050]  It's like, there's a lot of Valance.
[33:34.750 --> 33:36.970]  Um, but yeah.
[33:37.190 --> 33:46.030]  And so I, I, this, this idea that, that, you know, we are allowed to be filmed, but if I go into, um, an establishment, I cannot film it.
[33:46.470 --> 33:53.370]  Um, and that's sort of like the unwritten contract that we all agree to when we walk through the door because we want to buy a burger or we want to buy a shirt.
[33:54.030 --> 33:59.170]  Um, um, the next artist I'm talking about is, uh, Hasan Alaya.
[33:59.450 --> 34:07.130]  And, um, he was stopped in 2002, um, at the airport by FBI agents and, uh, being accused of being a terrorist.
[34:07.150 --> 34:08.570]  And he was interrogated for hours.
[34:08.930 --> 34:12.530]  Um, and this experience really was awful, of course.
[34:12.530 --> 34:20.610]  Um, and as a result, he started doing this project where he, uh, tracked himself through, uh, GPS and, um, and maps.
[34:20.850 --> 34:22.710]  And, um, let me just pull up his website.
[34:22.830 --> 34:23.850]  The website's still alive.
[34:24.130 --> 34:26.690]  And he's still tracking himself to this day since 2002.
[34:27.470 --> 34:32.790]  Um, now when he travels, he will contact FBI offices and tell them he's in town.
[34:33.210 --> 34:43.030]  Um, you know, at any time you can go to this website and it's not loading, but, um, and it'll tell you his GPS location and some photos that he took of that, that location.
[34:43.230 --> 34:45.330]  So, at any time, you know where he is.
[34:45.750 --> 34:48.310]  Um, and since then he hasn't been stopped by the FBI at all.
[34:48.470 --> 34:51.110]  So, maybe this is all what we should be doing.
[34:52.070 --> 34:56.990]  Um, and, you know, this was a, this was a response to harassment.
[34:57.210 --> 35:01.510]  And, you know, it works in this, in this funny way.
[35:01.510 --> 35:02.770]  But, yeah.
[35:03.290 --> 35:06.270]  Um, let me, come on.
[35:07.790 --> 35:10.290]  So, now we're gonna talk about anti-surveillance.
[35:10.470 --> 35:20.010]  Which, I sort of, um, made this category as, like, this is sort of the, the direct opposition to these surveillance, um, tools that are around us.
[35:20.030 --> 35:24.250]  As opposed to, sort of, just using cameras and, and watching the watchers.
[35:24.250 --> 35:30.130]  But, like, how can we subvert or counteract these, um, the security apparatus?
[35:30.490 --> 35:35.150]  Um, um, do people know Registered Trademark, RTmark?
[35:35.670 --> 35:43.390]  Um, they're, they, um, do you remember the, um, GI Joe and Barbie Doll, Talking Barbie Doll switch?
[35:43.710 --> 35:45.210]  Where people took, yeah, that's them.
[35:45.690 --> 35:49.410]  Um, they've been around for a really long time doing, um, really fun artwork.
[35:49.410 --> 35:54.450]  And they released a guide to closed circuit television, um, camera destruction.
[35:55.010 --> 35:59.670]  Um, and they, you know, in their, in their piece they explain, well, why?
[35:59.930 --> 36:01.390]  And they're like, well, trust your instincts.
[36:02.050 --> 36:16.110]  Um, and then they give a little bit more of a, um, a longer response of, um, The gaze of the camera does not fall equally on all users of the street, but on those who are stereotypically predefined as potential deviant or through appearance and demeanor.
[36:16.110 --> 36:19.890]  They're singled out by operation, operators as unrespectable.
[36:20.050 --> 36:28.970]  In this way, youth, particularly those already socially and economically marginalized, may be subject to even greater levels of authoritative intervention and official stigmatization.
[36:29.470 --> 36:39.690]  And rather than contributing to social justice through the reduction of victimization, CCTV will merely become a tool of injustice through the amplification of differential and discriminatory policing.
[36:40.390 --> 36:42.510]  So this guide is really nuts and bolts.
[36:42.770 --> 36:46.070]  It goes through, you know, how to take down security cameras.
[36:46.170 --> 36:51.870]  And it's like, well, throw a rope around it and, and pull it down or shoot pain at it.
[36:51.990 --> 37:03.370]  And like, it emphasizes, uh, you know, getting a group of friends together to go attack security cameras and like, you know, making sure that you're fit, like practicing climbing fences and running away and, um, going out in the middle of the night dressed in black.
[37:03.550 --> 37:07.490]  And it, you know, it's a, it's very basic, basic guide.
[37:07.990 --> 37:14.530]  Uh, in this same light, um, there's a group, uh, cam over in, uh, 2013.
[37:15.510 --> 37:19.270]  They, um, they, there was a police Congress happening in Berlin, Germany.
[37:19.690 --> 37:34.570]  Um, and they wanted to create a response to this, um, huge police conference, um, by making it a game to be like, okay, all over the world, we're going to have this game now where you collect as many security cameras as you can and post it on this, uh,
[37:34.690 --> 37:35.670]  like game posting site.
[37:35.730 --> 37:40.170]  That's like for, like they had alongside like soccer games that you like posted up.
[37:40.230 --> 37:41.610]  Like, oh, I got this many goals.
[37:41.730 --> 37:44.910]  It's like, oh, I got this many, like I got 20 cameras in one night.
[37:45.070 --> 37:48.750]  So, um, this is their, uh, sort of promo video they released.
[37:48.750 --> 37:49.990]  Oh, jeez.
[37:50.770 --> 37:51.370]  Are you serious?
[37:54.460 --> 37:55.280]  Is that Internet?
[37:55.680 --> 37:56.860]  Yeah, we're out of Internet.
[37:57.260 --> 37:57.740]  We ran out.
[38:00.200 --> 38:01.560]  The legacy one's up.
[38:01.660 --> 38:02.020]  Will that work?
[38:02.260 --> 38:02.780]  Let me try it.
[38:03.680 --> 38:03.840]  Oh, yeah.
[38:30.910 --> 38:32.550]  Let me try it.
[38:32.550 --> 38:32.870]  Oh,
[38:45.820 --> 38:46.220]  there we go.
[38:46.540 --> 38:48.460]  Oh, there we go.
[38:50.220 --> 38:50.760]  Oh,
[38:53.860 --> 38:54.220]  there we go.
[39:01.490 --> 39:03.850]  She doesn't really like surveying, being surveilled on, right?
[39:03.930 --> 39:04.290]  That's a thing.
[39:06.810 --> 39:07.530]  That's a thing.
[39:26.810 --> 39:27.650]  Pause this for a second.
[39:47.930 --> 39:48.190]  What?
[39:48.770 --> 39:49.690]  Talk while we wait.
[39:49.810 --> 39:50.790]  Okay, so, yeah.
[39:51.890 --> 39:58.350]  Um, Camover, they, uh, they, um, had, they had this, uh, initial video, uh, that we're going to watch in a second.
[39:58.350 --> 40:07.790]  And then, um, a few other groups, uh, were, were spotted at like in Tacoma, Washington, a group got together and did like 30 cameras in one night.
[40:07.810 --> 40:14.470]  And, um, it was, you know, it was a fun little thing leading up to the, uh, Berlin, um, police Congress.
[40:14.470 --> 40:16.770]  Um, and, yeah.
[40:18.310 --> 40:19.430]  Let's see if it'll play now.
[40:53.750 --> 40:54.150]  Um,
[41:12.580 --> 41:12.760]  okay.
[41:13.080 --> 41:13.840]  So you get the point.
[41:15.040 --> 41:18.360]  People don't like security cameras and they made a video of them, uh, breaking them.
[41:18.880 --> 41:19.020]  Um,
[41:22.380 --> 41:29.360]  but, um, so, I mean, going along with that, um, you know, there's straight up destruction of security cameras.
[41:29.480 --> 41:31.640]  That's a really effective way to get rid of security cameras.
[41:31.640 --> 41:35.080]  I mean, it's pretty clear, like you're getting rid of them.
[41:35.220 --> 41:38.220]  Um, uh, there's also this other category in here.
[41:38.380 --> 41:40.540]  It's called disruptive fashion, which is a really interesting.
[41:41.100 --> 41:46.520]  Um, Adam Harvey is one artist who, um, is exploring this arena of like, um, making it.
[41:46.640 --> 41:50.820]  So the things we already do and dress like weirdos, um, blocks security cameras, I guess.
[41:50.920 --> 41:58.720]  No, um, you know, he created, um, a makeup and hair patterns that would actually confuse, uh, facial recognition cameras.
[41:58.720 --> 42:09.080]  And so, um, in this, uh, example, no faces are detected in this, uh, for this person because of the, the hair shape and the, the high contrast, uh, makeup.
[42:09.600 --> 42:12.840]  Um, and here's an example of just using the hair.
[42:13.080 --> 42:14.300]  Of course, the face is detected.
[42:14.620 --> 42:17.160]  Um, here's a closeup of that.
[42:17.320 --> 42:22.800]  And then you have the, you know, cyberpunk version of like, yeah, this is what my friends look like.
[42:23.600 --> 42:30.860]  Um, you know, but like these are effective ways to subvert security cameras, uh, that are, that use facial recognition software.
[42:30.940 --> 42:36.760]  And we know from things being leaked and, and, and technologies being invented, like, this is real technology.
[42:36.820 --> 42:46.120]  And like, if there were ways to incorporate it into our everyday dress, like we could walk through, rock through space, not being, um, tracked.
[42:46.120 --> 42:53.000]  Um, another group who kind of is in this, uh, same light is, uh, URA PhiloArt.
[42:53.320 --> 43:02.100]  Um, and they did a project where they, um, made a high powered LED, uh, ring that you would attach to your head.
[43:02.420 --> 43:08.020]  Um, that would be infrared LEDs, which infrared LEDs are seen by cameras, but not by people.
[43:08.160 --> 43:13.080]  And so you could walk around and your head would just be this big light, um, staring at the cameras.
[43:13.560 --> 43:15.680]  Um, and this is the device itself.
[43:15.680 --> 43:16.700]  It's a pretty simple design.
[43:17.280 --> 43:23.860]  Um, admittedly, I did do a lot of research on this and other artists have tried to recreate this and they're like, uh, maybe it works, maybe it doesn't.
[43:23.940 --> 43:26.940]  But, um, I think that this concept is really, really cool.
[43:27.120 --> 43:33.720]  And like, um, Becky Stern is doing a, uh, talk tomorrow at three about, uh, disruptive fashion.
[43:34.020 --> 43:36.560]  Um, and I'm pretty sure she's going to be talking about stuff like this.
[43:36.640 --> 43:39.200]  So that's really something you like and want to see.
[43:39.640 --> 43:41.200]  Go to that talk, um, tomorrow.
[43:41.340 --> 43:43.420]  I don't remember the room, but, um, I'll look it up.
[43:44.080 --> 43:45.880]  Um, and so, yeah.
[43:46.500 --> 43:48.820]  Um, that's pretty much my talk.
[43:49.160 --> 43:51.700]  Um, you know, I've gone over a lot of artists.
[43:52.620 --> 44:04.800]  And overall, I, the reason I'm doing this talk is that, like, we get a lot of information about, like, what sucks and what is terrible and, and, and, and sort of in this way.
[44:04.940 --> 44:07.840]  And, like, I, I like this art and I want to see more of it.
[44:07.940 --> 44:11.360]  And if, like, you know of artists who are working in this medium, please contact me.
[44:11.660 --> 44:15.180]  Um, I've done a bit of work in, in, in this as well.
[44:15.180 --> 44:16.400]  Like, it's interesting.
[44:16.680 --> 44:19.720]  It's, it's engaging with the, the world we live in.
[44:19.880 --> 44:22.860]  And it's a little less depressing than reading the news.
[44:23.840 --> 44:25.300]  Um, so yeah.
[44:25.360 --> 44:26.300]  There's my Twitter and GitHub.
[44:26.780 --> 44:28.120]  I write code.
[44:28.260 --> 44:29.760]  I tweet a lot about silly things.
[44:30.220 --> 44:31.320]  Uh, this is the resources link.
[44:31.320 --> 44:32.760]  That's, it goes to a GitHub account.
[44:32.900 --> 44:36.040]  That's going to be, um, I have a full bibliography of the research I did.
[44:36.240 --> 44:40.240]  Um, so you can go and check out, um, and dive more into this.
[44:40.320 --> 44:43.040]  I have a few artists that I wasn't, weren't able to fit into the presentation.
[44:43.380 --> 44:45.880]  Um, who didn't exactly fit in any category.
[44:46.060 --> 44:46.840]  I just didn't have the time.
[44:47.420 --> 44:48.380]  Um, that's going to go up there.
[44:48.480 --> 44:50.960]  And I'm going to be updating it, um, as I go.
[44:51.080 --> 44:54.420]  So if I, if you send me artists through Twitter, I will put them up there later today.
[44:55.040 --> 44:56.540]  Um, do people have questions?
[44:57.440 --> 44:57.760]  Yeah.
[44:58.700 --> 44:59.020]  Yeah.
[45:00.080 --> 45:06.820]  Uh, so I have right now, I have, um, there was this artist who did a security camera defeated by a balloon.
[45:06.940 --> 45:09.320]  Maybe I'll just pull this up real quick since I do have like five more minutes.
[45:20.580 --> 45:21.200]  Here we go.
[45:22.140 --> 45:29.800]  So we have, um, so Zach Blass, um, is somebody who's doing, he just had an interview in Vice Magazine.
[45:30.260 --> 45:36.740]  Um, and he, um, is an artist who's working both in, uh, the queer space and in the surveillance space.
[45:36.740 --> 45:40.440]  And he created these masks that, um, hide your face.
[45:40.680 --> 45:45.820]  Um, and, um, this whole interview I linked to and it's, it's quite good.
[45:46.600 --> 45:50.700]  Um, that's a, that's one of the artists I was able to find.
[45:50.880 --> 46:00.080]  Um, this picture and this, um, there, there's an artist who did a bunch of these like little, sort of like adjustments of the urban environment.
[46:00.260 --> 46:02.820]  And this was one that was just like a balloon and a rock.
[46:03.280 --> 46:06.540]  And that's like, you know, good anti-surveillance.
[46:06.940 --> 46:08.560]  Um, yeah.
[46:08.660 --> 46:10.640]  And then, uh, this encrypted mixtape for the NSA.
[46:10.760 --> 46:11.560]  Have people heard about this?
[46:12.880 --> 46:13.240]  Okay.
[46:13.600 --> 46:14.440]  I'll click on it anyway.
[46:14.680 --> 46:18.600]  So an engineer made a, a, a encrypted mixtape for the NSA.
[46:18.600 --> 46:22.740]  Cause they're like, well, you can read all my emails, but I really want you to listen to my music.
[46:23.320 --> 46:31.320]  Like, so maybe they'll crack it and they'll be able to listen to, you know, the Smiths.
[46:32.460 --> 46:34.100]  Um, yeah.
[46:39.270 --> 46:40.270]  Any more questions?
[46:44.370 --> 46:44.850]  What?
[46:46.090 --> 46:47.130]  Who cut my hair?
[46:47.290 --> 46:47.370]  What?
[46:49.830 --> 46:50.970]  Ah, trolling me.
[46:51.630 --> 46:52.950]  I got friends in the audience.
[46:52.950 --> 46:53.270]  Yeah.
[46:53.430 --> 46:53.650]  What's up?
[46:58.870 --> 47:02.970]  I haven't, um, seen any art that is explicitly doing.
[47:03.110 --> 47:03.190]  Yeah.
[47:03.410 --> 47:06.610]  Like gate tracking is actually more effective than face tracking.
[47:06.710 --> 47:07.150]  I know that.
[47:07.710 --> 47:10.250]  Um, I'd like to see work in that arena.
[47:10.570 --> 47:14.630]  Um, if you know of people, like forward them along or maybe we could start it.
[47:14.970 --> 47:15.270]  Yeah.
[47:15.370 --> 47:22.190]  If you're looking for art to do, hobbling or, you know, making your shoes different weights to...
[47:22.590 --> 47:22.950]  Segways.
[47:23.190 --> 47:23.790]  Ah, damn.
[47:24.170 --> 47:24.530]  Segways.
[47:25.130 --> 47:25.250]  Yeah.
[47:26.030 --> 47:26.730]  Any more questions?
[47:27.690 --> 47:28.490]  Oh, in the back.
[47:28.590 --> 47:28.790]  Sorry.
[47:28.810 --> 47:29.470]  I can't see very well.
[47:29.530 --> 47:29.970]  So yell at me.
[47:30.530 --> 47:30.730]  Hi.
[47:31.150 --> 47:31.210]  Hi.
[47:40.560 --> 47:40.920]  Yeah.
[47:44.170 --> 47:44.970]  Oh yeah, for sure.
[47:53.260 --> 47:53.620]  Yeah.
[47:54.120 --> 47:57.440]  Um, yeah, I, I, for sure.
[47:57.600 --> 48:03.140]  I mean, I, I think it's like, yeah, like, haha, you have a job and you work with cameras and you're an idiot.
[48:03.480 --> 48:08.840]  Like it's, it, that's sort of like the Steve Mann, um, video sort of has that tone.
[48:08.960 --> 48:25.240]  And, um, I would, I would say that like the most effective way to sort of counter that, what I would like to see is like making workers aware of the surveillance and how it's actually like not beneficial for them to have cameras in the workplace in that way.
[48:25.240 --> 48:29.960]  Like that, like they are there for the workers to be watched over by their managers.
[48:30.340 --> 48:32.720]  Um, and to watch for shoplifters.
[48:33.480 --> 48:38.120]  Um, that's sort of just like a, a philosophical thing.
[48:38.400 --> 48:41.860]  Um, artistically, I'm not, I'm not exactly sure yet.
[48:45.400 --> 48:46.460]  Any more questions?
[48:47.020 --> 48:47.580]  Yeah.
[48:54.660 --> 48:56.020]  Taking public space video.
[48:56.020 --> 48:59.660]  So like, uh, filming public space, filming cops.
[48:59.880 --> 49:05.120]  So you, I, so I know that there is laws to protect that.
[49:05.460 --> 49:09.780]  Basically, you have to be, um, not interfering with police process.
[49:10.040 --> 49:12.300]  Now that is totally arbitrary to the police.
[49:12.300 --> 49:18.360]  And a lot of people who have been harassed by the police for filming them are fall into that jurisdiction.
[49:18.360 --> 49:22.140]  I know they're like, you are too close, even though you're like two blocks away.
[49:22.620 --> 49:26.200]  Um, because it's pretty much up to the, the police's discretion.
[49:26.820 --> 49:35.880]  Um, I know that like people with privilege, like white privilege or male privilege can get away with filming the cops better than people without so much privilege.
[49:35.880 --> 49:41.580]  And like, I strongly suggest that if you see, you know, New York, I've, I've been here, you know, I'm from California.
[49:41.720 --> 49:44.780]  I've been here for a week and I've already seen somebody stop and frisk.
[49:44.780 --> 49:47.880]  I'm just like, you know, I never saw it before in my life.
[49:47.880 --> 49:52.360]  And like, it's not something that happens in Oakland at least or in San Francisco.
[49:52.500 --> 49:54.020]  And it's just like, it's such an interesting thing.
[49:54.120 --> 50:00.260]  It's like, you know, I encourage those with privilege to film the cops, you know, and to get that footage.
[50:00.260 --> 50:05.420]  And most of the time that will make the cops walk away without doing anything to the person because they're just trying to harass people.
[50:09.970 --> 50:10.330]  Yeah.
[50:10.330 --> 50:10.650]  Thank you.
[50:10.930 --> 50:11.270]  Is that it?
[50:12.150 --> 50:12.330]  Yeah.
[50:12.410 --> 50:14.870]  So bother me on Twitter or talk to me in person, whatever.
[50:15.390 --> 50:15.610]  Thank you.
[50:20.720 --> 50:24.160]  And I don't know how many people are new here, but I'm Ted, the video guy.
[50:24.280 --> 50:29.640]  And just a reminder, we did film this presentation and they'll be available starting tomorrow out on the table.
[50:29.900 --> 50:30.660]  So thank you.
[50:30.760 --> 50:31.540]  Look for them on the Internet.