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 SPACES
F
SURVEILLANCE
States and Selves

Edited by
Susan Flynn &
Antonia Mackay
Spaces of Surveillance
 Susan Flynn Antonia Mackay
•

Editors

Spaces of Surveillance
States and Selves
Editors
Susan Flynn Antonia Mackay
School of Media Department of English and Modern
University of the Arts London Languages
London, UK Oxford Brookes University
Oxford, UK

ISBN 978-3-319-49084-7 ISBN 978-3-319-49085-4 (eBook)

DOI 10.1007/978-3-319-49085-4
Library of Congress Control Number: 2017937509

© The Editor(s) (if applicable) and The Author(s) 2017, corrected publication 2017
This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher,
whether the whole or part of the material is concerned, specifically the rights of translation,
reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any
other physical way, and transmission or information storage and retrieval, electronic
adaptation, computer software, or by similar or dissimilar methodology now known or
hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information
in this book are believed to be true and accurate at the date of publication. Neither the
publisher nor the authors or the editors give a warranty, express or implied, with respect to the
material contained herein or for any errors or omissions that may have been made. The
publisher remains neutral with regard to jurisdictional claims in published maps and
institutional affiliations.

Cover illustration: maja/Alamy Stock Photo

Printed on acid-free paper

This Palgrave Macmillan imprint is published by Springer Nature

The registered company is Springer International Publishing AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
 CONTENTS

1 Introduction 1
Susan Flynn and Antonia Mackay

Part I Art, Photography and Film

2 Equality and Erasure: Responses to Subject Negation in

the Art of Jill Magid 21
Amy Christmas

3 Camera Performed: Visualising the Behaviours of

Technology in Digital Performance 45
Jaclyn Meloche

4 ‘She’s not There’—Shallow Focus on Privacy,

Surveillance, and Emerging Techno-Mediated Modes of
Being in Spike Jonze’s Her 65
William Thomas McBride

5 Surveillance in Zero Dark Thirty: Terrorism, Space and

Identity 87
Frances Pheasant-Kelly

v
vi CONTENTS

6 To See and to Be Seen: Surveillance, the Vampiric Lens

and the Undead Subject 105
Simon Bacon

Part II Literature

7 Watching Through Windows: Bret Easton Ellis and

Urban Surveillance 123
Alison Lutton

8 Participating in ‘1984’: The Surveillance of Sousveillance

from White Noise to Right Now 137
Caleb Andrew Milligan

9 Surveillance in Post-Postmodern American Fiction: Dave

Eggers’s The Circle, Jonathan Franzen’s Purity and Gary
Shteyngart’s Super Sad True Love Story 151
Virginia Pignagnoli

10 Surveilling Citizens: Claudia Rankine, From the First to

the Second Person 169
Jeffrey Clapp

Part III States, Place and Bodies

11 Castrating Blackness: Surveillance, Profiling and

Management in the Canadian Context 187
Sam Tecle, Tapo Chimbganda, Francesca D’Amico
and Yafet Tewelde

12 Sousveillance as a Tool in US Civic Polity 211

Mary Ryan
 CONTENTS vii

13 Medical Surveillance and Bodily Privacy: Secret Selves

and Graph Diaspora 229
Susan Flynn

Erratum to: Surveilling Citizens: Claudia Rankine,

From the First to the Second Person E1
Jeffrey Clapp

Spaces of Surveillance: States and Selves Afterword 245

Index 261
 EDITORS AND CONTRIBUTORS

About the Editors

Susan Flynn is a lecturer at the University of the Arts‚ London where she
specialises in contemporary media culture‚ digital and body theory and
media equality. Her work is featured in a number of international collec-
tions and journals such as American‚ British and Canadian Studies Journal
and Ethos: A Digital Review of the Arts‚ Humanities and Public Ethics.

Antonia Mackay is an Associate Lecturer at Oxford Brookes University and

Visiting Lecturer at Goldsmiths, University of London. She has taught on a
wide range of undergraduate and postgraduate modules including
American Theatre, American Vistas, Critical Theory, Narrative and
Narratology and Special Options in experimental Avant Garde and
Twentieth Century Writing. She has published articles on Manhattan
Maleness and Cold War ideology, as well as articles on space, technology
and identity and won the Nigel Messenger Teaching Award at Oxford
Brookes in 2014 and 2016.

ix
x EDITORS AND CONTRIBUTORS

Contributors
Simon Bacon Poznan, Poland
Tapo Chimbganda York University in Toronto, Toronto, Canada
Amy Christmas Qatar University, Doha, Qatar
Jeffrey Clapp Department of Literature and Cultural Studies, Education
University of Hong Kong, Hong Kong, China
Francesca D’Amico York University in Toronto, Toronto, Canada
Susan Flynn University of Arts, London, UK; School of Media,
University of the Arts London, London, UK
Alison Lutton University of Oxford, Oxford, UK
Antonia Mackay Department of English and Modern Languages, Oxford
Brookes University, Oxford, UK
William Thomas McBride Illinois State University, Normal, USA
Jaclyn Meloche Art Gallery of Windsor, Windsor, Canada
Caleb Andrew Milligan University of Florida, Gainesville, USA
Frances Pheasant-Kelly Wolverhampton University, Wolverhampton,
UK
Virginia Pignagnoli University of Turin, Turin, Italy
Mary Ryan Department of Political Science, Virginia Tech, Blacksburg,
USA
Sam Tecle York University in Toronto, Toronto, Canada
Yafet Tewelde York University in Toronto, Toronto, Canada
 LIST OF FIGURES

Fig. 2.1 (left) Mona Hatoum. Corps étranger. 1994. Video installation
with cylindrical wooden structure, video projector, video
player, amplifier and four speakers. 137 13/16 x 118 1/8 x
118 1/8 in. (350 x 300 x 300 cm). © Mona Hatoum. Photo ©
Philippe Migeat. Courtesy Centre Pompidou, Paris. (right)
Mona Hatoum. Corps étranger (detail: film stills). 1994. Video
installation with cylindrical wooden structure, video projector,
video player, amplifier and four speakers. 137 13/16 x 118 1/8
x 118 1/8 in. (350 x 300 x 300 cm). © Mona Hatoum.
Courtesy White Cube 29
Fig. 2.2 Magid (background, partially obscured) conducts her
self-exploration in Lobby 7 (1999) while watching the
image-capture in real time on the monitor 32
Fig. 2.3 The watcher observes the wearer in the neutralised space
of Monitoring Desire (2000) 34
Fig. 2.4 The exchange of the surveillance shoe in Monitoring Desire
(2000) 36
Fig. 2.5 Upskirt shot of the subject blending with the surrounding
architecture in Legoland (2000) 39
Fig. 3.1 Susan Collins, Glenlandia, 2nd June 2006. Digital Image from
Live Transmission 51
Fig. 3.2 Susan Collins, Glenlandia, (2005–2007). 9 Digital Images
from May 2006 55
Fig. 3.3 Susan Collins, Glenlandia, (2005–2007). Installation view
of Glenlandia in Outlook Express(ed) at Oakville Galleries,
Oakville, Ontario, Canada, 2007 57

xi
xii LIST OF FIGURES

Fig. 3.4 Susan Collins, Glenlandia, (2005–2007). Installation view

of Glenlandia in Outlook Express(ed) at Oakville Galleries,
Oakville, Ontario, Canada, 2007 59
Fig. 4.1 Theodore literally embraces himself, “a sad, male fetish
fantasy.” [still enhanced] 76
Fig. 4.2 Shallow focus expresses the limited circuitry and vision
of Theodore’s tortured interiority 77
Fig. 4.3 Insular Theodore in claustrophobic framed box, front and back
railings out of focus 77
Fig. 4.4 Rare deep focus as Theodore takes responsibility for his failed
marriage 78
Fig. 4.5 Uncharacteristic deep focus clearly integrates Theodore with
his surroundings 79
Fig. 4.6 Shallow focus and narcissistic cocoon returns 79
Fig. 4.7 Shallow focus and narcissistic cocoon returns 80
 CHAPTER 1

Introduction

Susan Flynn and Antonia Mackay

In 1948, George Orwell’s Nineteen Eighty-Four portrayed a bleak future for

mankind. A future almost entirely filled with surveillance technologies and
surveilling practices; one where all seeing eyes and ears threaten to destroy
individualism in favour of blind conformity. Orwell’s ominous vision of Big
Brother and the control exerted by the Ministries of Oceania, is one pre-
mised on the notion of surveillance, and with it, states of selfhood where the
system “controls matter because we control the mind” (Orwell 1948,
p. 268). The grim reality of Orwell’s Big Brother is not merely the weight of
sheer political power, but rather, the effects of surveillance on those who are
watched, and thereby, those who are policed. By extension, as the novel’s
protagonist Winston Smith informs us, the power of these technologies to
maintain the societal system around him, indeed Oceania itself, means
this is not only a surveilled space, but a space of surveillance where
“BIG BROTHER IS WATCHING YOU” (Orwell 1948, p. 3). The
importance of surveillance technology in Nineteen Eighty-Four cannot be

S. Flynn
School of Media, University of the Arts London, London, UK
e-mail: susan.fl[email protected]
A. Mackay (&)
Department of English and Modern Languages, Oxford Brookes University,
Oxford, UK
e-mail: [email protected]

© The Author(s) 2017 1

S. Flynn and A. Mackay (eds.), Spaces of Surveillance,
DOI 10.1007/978-3-319-49085-4_1
2 S. FLYNN AND A. MACKAY

underestimated, for here is a system that can both watch and thereby control
the masses; and furthermore, by affecting the spaces we inhabit, can
manipulate and reshape our selfhood: “who controls the past … control the
future; who controls the present controls the past” (Orwell 1948, p. 37).
Orwell’s now recognizable environment is pertinent to this collection of
essays on the nature of surveillance; from the manner in which spaces can
affect identity; to how the gaze of these technologies can determine indi-
vidual behaviour and selfhood. Jeremy Bentham’s panopticon (1843)
inculcated surveillance within architecture. What Bentham ascertained was
the creation of a consciousness solely based on permanent visibility as a
form of power; in effect, a space “based on a system of permanent regis-
tration” (Foucault 1975, p. 196). Orwell’s urban landscape is not dissimilar
in its structure; where “you had to live—did live from habit that became
instinct—in the assumption that every sound you made was overheard, and
except in darkness, every movement scrutinized” (Orwell 1948, p. 3). Big
Brother exhibits the same power as Bentham’s panopticon, constantly
observing the bodies of Oceania; only in Orwell’s version, the power of
surveillant technologies not only affects behaviour through a system of
power, it also creates identity, where “each individual is fixed in his place …
the gaze is alert everywhere” (Foucault 1975, p. 195).
Unlike the inmates of Bentham’s prisons, Winston Smith is fully aware
of the potential control wielded over him by the all seeing eye of Big
Brother, and rather than behave, he merely performs correctly: “he had set
his features into the expression of quiet optimism which it was advisable to
wear when facing the telescreen” (Orwell 1948, p. 5). Winston, under the
gaze of the telescreens, continually shifts his identity in order to reflect a
visibly acceptable, and more importantly, conformist identity. What we
witness with Orwell’s form of surveillance is not only panopticism, but also
how the gaze of surveillant technologies can shift identity within spaces of
visibility. However, as readers of Nineteen Eighty-Four will well know, this
isn’t a system which can be overcome—it is merely a space of continual
identity immobility where acts of individualism are punished, and a life of
perpetual performativity upheld. As Michel Foucault’s work on panopti-
cism states: “power has its principle not so much in person as in certain
concerted distribution of bodies, surfaces, lights, gazes” (Foucault 1975,
p. 202), and for this reason, Winston Smith will never be able to defeat the
power of surveillance.
What we can learn from Orwell’s vision is the manner in which tech-
nology can impact our understanding of reality, and with that, the ensuing
 1 INTRODUCTION 3

issues of who is surveilled, who has the power of the gaze, and how ar-
chitectural structures can impact our surveilled potential. Martin Fuglesang
and Bent Meier Sorenson’s work on Gilles Deleuze extends this idea fur-
ther, where identity is marked by spaces and given corporeality by its action
(Fuglesang and Sorenson 2006). In Nineteen Eighty-Four, Winston’s
identity is almost entirely created by the surveillance of Big Brother and by
Winston’s actions—he is both given identity as a body to be watched, and
one to be watched as he disobeys the laws of Oceania. However, according
to Fuglesang and Sorenson, if we require a frame in order to have an
identity (in Winston’s case, his apartment and the telescreen) then it is,
rather confusingly, this same frame which allows us to be real—in essence,
it is by being watched that we can become real. The potential contained in
surveillant technologies is therefore twofold: providing bodies with iden-
tities they may not want, but at the same time providing them with an
identity that can be determined as real – I am watched, therefore I am.
Surveillance technologies may not, therefore, deserve their dystopian
image, and as these chapters suggest, may contain the potential for indi-
viduals to become more than just a body to be watched.
Orwell’s Oceania is arguably, the most recognisable fictional example of
a surveilled state, but the reality of surveillance in the modern world
appears to be far more entrenched than the all seeing eye of Big Brother.
Salient media discourses remind us that surveillance exists all around us,
and in a multitude of forms. In May 2016, artist Laura Poitras exhibited
“Astro Noise” at the Whitney owned Hurst Family Gallery in New York.
The exhibition consisted of a series of documentary clips, architectural
plans and documents, and thermal radiation images on the subject of mass
surveillance and the US drone project. Hailed as a form of “political art”
which “reveals mass surveillance at home and [the] extensive drone wars
abroad” (Cotter 2016a, p. C21), the exhibition exposed Poitras’ involve-
ment with the Edward Snowden files following her collaboration with the
documentary film Citizenfour. Some of the exhibition was shaped by the
Snowden leaks and featured images of rooftops in Baghdad and slow
motion images of New Yorkers staring at Ground Zero. One particular
exhibit, “O Say Can You See” featured a two sided video installation of
black and white footage of prisoners in Afghanistan cut with the military
aftermath of 9/11. As Holland Cotter determines, the exhibit draws
attention to the need for survival in the age of mass surveillance, calling it
“art of the ‘we shall overcome’ sort” (Cotter 2016b, p. C21). Poitras’
exhibition unveils the impact of surveillance not only on ourselves, but also
4 S. FLYNN AND A. MACKAY

on our understanding of others. In a similar vein, in June 2016, the

International Center of Photography (ICP) in New York unveiled its
inaugural exhibition entitled “Public, Private, Secret”. The ICP’s curator,
Charlotte Cotton, conceived of the exhibition in an attempt to address
timely questions concerning how the images we broadcast communicate
something about ourselves, and what happens when others view these
images without our knowledge (Budick 2016). Much like Poitras’ exhi-
bition of post 9/11 surveillance, Cotton’s exhibition confronts us with
images from webcam stills, Instagram and Twitter in a manner that rene-
gotiates the links between self, viewer and other (Budick 2016). These
exhibitions demonstrate, not only the prevalence of surveillance tech-
nologies, where real surveillance can be turned into art, but also the many
forms surveillant practices can take where, “visual fiction stands in for
truth” (Cotter 2016a, p. C21). This collection returns both to 9/11 and
to the promise of art in order to capture our current surveillant reality.
Perhaps the most recognizable images of surveillance are those found on
the Internet. Much like the ICP’s exhibition, the Internet and, by exten-
sion, web imagery found on social media, has quickly become a form of
individual surveillance—observing ourselves through ‘selfies’ and others
through ‘likes’. In 2009, Ondi Timoner made a documentary about
Internet pioneer Josh Harris entitled We Live in Public. Timoner’s docu-
mentary charted the rise and fall of Harris’ career from the dot com boom
of the late 1990s‚ to his meteoric fall following the art project ‘Quiet’. In
1999, Harris invited one hundred artists to live in a human terrarium under
New York City where their every move was followed by cameras. Living in
“pods” these artists could tune into other people’s monitors around them,
viewing each other’s CCTV channels and living constantly “in public”.
Harris’ experiment took the loss of privacy in the Internet age to a new
level, resulting in participants claiming to feel like “rats” and “slaves” and
reporting a loss of identity and increasing detachment. As Harris’ opening
lines in Timoner’s documentary disclose, “the Internet is like a new human
experience. At first everyone’s going to like it, but there will be a funda-
mental change in the human condition. As time goes by we will become
more constrained in these human boxes. Our every action will become
accountable. One day we will wake and realise we are all just servants” (We
Live in Public 2009). Harris’ words strike a chord with the central concerns
contained in this collection—the manner in which states, selfhood and
indeed spaces can be affected by our constant watching and being watched;
where, according to the film maker, we will become nothing more than a
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