Surveillance now is ubiquitous—each of us is decomposed along multiple axes into discrete data points, and then recomposed on screens and in combinatory algorithms that organize our life chances. Such surveillance is directly screened in popular culture, however, quite rarely. It is hard to see ubiquitous surveillance, and the harder something powerful is to see, the more powerful it tends to be. The essays of this Screen Shot offer perspective on various concrete instances of contemporary surveillance, both ubiquitous and granular, and in so doing offer tools for negotiating its suffusive presence in and organization of our lives.
Ira J. Allen
Damien Smith Pfister
In the wake of the mass shootings in Dayton, Ohio, and El Paso, Texas, the Trump Administration floated the creation of a new governmental agency named HARPA, the Health Advanced Research Projects Agency, modeled after DARPA, the Defense Advanced Research Projects Agency, that could explore novel ways of curtailing gun violence. For an administration unwilling to entertain serious legislation to address the problem of gun violence in the United States, HARPA offered a way to appear to be doing something about gun violence. HARPA, advocates maintained, could house a project called SAFEHOME, an acronym for “Stopping Aberrant Events by Helping Overcome Mental Extremes.” SAFEHOME would use “breakthrough technologies with high specificity and sensitivity for early diagnosis of neuropsychiatric violence”; the proposal would draw on data from Apple Watches, Fitbits, Amazon Echo, and Google Home to predict when someone might be on the cusp of mass violence (Alemany 2019). The guiding assumption of SAFEHOME is that surveillance of this biophysical data, combined with extant surveillance of textual messaging, search patterns, social networking sites, and discussion boards would alert law enforcement officials to a prospective shooter. Think Minority Report (2002, Steven Spielberg) with digital surveillance technology playing the role of psychic precogs. SAFEHOME is probably (hopefully) a nonstarter in serious conversations about gun violence, given the tenuous link between mental health, physical disposition, and violence; the inevitability of data-profiling being articulated to minoritized subjects and false positives (imagine the first time SAFEHOME flags a SWAT team on someone having sex) and obvious concerns about such an invasive surveillance regime. But the very fact that a program like SAFEHOME is posed as a potentially credible solution points to a dimension of surveillance that complements this forum’s discussion of ubiquity: granularity.
Laura A. Sparks
Relying on select US government Torture Memos, this article develops the term “surveillance time” to highlight the ways in which surveillance practices, in this case within the material confines of post-9/11 detention centers, come to threaten humans’ subjectivities through temporal disruption and manipulation. While surveillance has lately been understood in digital terms, such as in corporations’ data-mining practices and in technologies like facial-recognition software, we should not neglect its material, embodied dimensions. Surveillance time ultimately asks us to reconsider how monitoring and information-harvesting practices blur the boundaries between human bodies and data. Attention to the relationship between torture and surveillance also opens up new possibilities for understanding the now-ubiquitous monitoring strategies integrated into everyday life.
The origin story is an important element for any superhero/villain, as it provides context for a character’s seemingly out-of-this-world abilities. A radioactive spider bit Spiderman, and the Penguin was bullied in his youth. It can also be beneficial for surveillance scholars, inasmuch as it provides context for a once invisible but superhuman body of digital information that circulates as a proxy for us in digital milieus. This body is best understood through contemporary surveillance practices, yet metaphors of the panopticon and George Orwell’s 1984 proliferate in the surveillant imagination. I argue here that mapping an origin story onto a view of our data as a superhuman body not only creates a tangible representation of surveillance, but it also emphasizes and animates alternative surveillance theories useful for circulation in the surveillant imagination.
Ethics and Privacy in Digital Research with Girls
this study. This will lead to discussions about the surveillance of the girls’ online behavior and communications that focus on the ethical dilemmas that surfaced and how they were addressed. In the final part of the article, I will argue for a people
Spectacle and Spectatorship in The Hunger Games
the reader to the fact that surveillance is ever present along with the watchful eye of the audience. Driscoll and Heatwole again comment on how it is cinema-specific techniques, such as cuts to a cheering audience of Capitol residents and the
reversibility that permeates both films. The corridors that run across the estates transform their landscape into a grid of surveillance and discipline: they reveal the disciplinary apparatus that underlines urban space ( de Certeau 1984 ). They give shape to
Girls and Technologies of Nonviolence
communities, government and corporate surveillance, and the use of social media to recruit and trap Indigenous girls into sexual exploitation. This special issue points toward possibilities for developing and applying technologies, as well as educational
urban story means understanding it not only as a means of commuting but, rather, especially for young people, as a space of control and surveillance because of their age, and a space for creating and maintaining material and digital friendships, as well
“[t]he notion that femininity is a bodily property; the shift from objectification to subjectification; an emphasis upon self-surveillance, monitoring and self-discipline; a focus on individualism, choice and empowerment; the dominance of a makeover