Načini viđenja (prema toplini)

Pozivamo vas na izvedbu performativnog eseja koji istražuje poetike nadzora toplinskim snimanjem. Efemerna priroda topline i nastojanja njezinog mjerenja za lokalizaciju opasnosti oslikava žarišta žutom, narančastom i crvenom bojom i tako prikazuje vizualizaciju podatkovnih točaka koja efektivno "svim tijelima daje nejasnu ljudsku morfologiju kojima je, u konvencionalno vidljivom svjetlosnom snopu, nemoguće razlikovati pokazatelje roda, rase ili klase... te uzrokuje normalizaciju nadzora pošto sva tijela pod njegovim pogledom djeluju isto." (Lisa Parks). Ovaj performativni esej postavlja pitanja o korištenju vizuala, govora i topline.

U predmetu Kyllo v. SAD (2001), Vrhovni je sud presudio da je za termalno snimanje potreban nalog za pretragu, pošto otkriva previše intimnih detalja unutar zidova domova kao što su "točno vrijeme u kojem se gospođa kuće kupa" (Justice Scalia). Esej će secirati povijesne i suvremene primjene termalnog snimanja kako ga koriste SAD, u kojima je pravo na privatnost zajamčeno standardom "razumnosti" u odnosu na tehnologiju koja se koristi, te je zato u stalnom stanju promjene.
We hope you come out and get hot with us.

Maya Simkin radi u Londonu, Chicagu i na WWW-u. Zanima ju pomoć umjetnicima, intervjui, značaj vizualne i zvučne kulture za politiku, izrada vlastitog kiselog kupusa i umaka, knjige i papir, te suradnja s drugim dragim ljudima.

Riley Cavanaugh je umjetnica iz Chicaga. Rad joj je trenutno fokusiran na istraživanje legalnosti, humora i estetike raznih tipova nadzora i prikupljanja podataka kao i "zaštitu" od istih. Uživa u prikupljanju iskrivljenih slika s Google Street View-a, organiziranju događanja i neprekidnim pokušajima učenja novih stvari.

Sri - 8.8.2018, 20:00 hacklab01, AKC, Pierottijeva 11, Zagreb

Ulaz slobodan

Hacklab01 je projekt AKC Attack i financijski je podržan od strane Ministarstva kulture RH, Nacionalne zaklade za razvoj civilnoga društva, te Zaklade Kultura nova.

Ways of Seeing (According to Temperature)

We would like to share a performance essay with you that explores the poetics of thermal imaging surveillance. The ephemeral nature of warmth and the attempt to measure it to localize danger, painting hot spots in yellows, oranges, and reds, presents a visualization of data points that effectively “turns all bodies into indistinct human morphologies that cannot be differentiated according to conventional visible light indicators of gender, race, or class...and has the effect of normalizing surveillance since all bodies appear similar beneath its gaze" (Lisa Parks). This performance essay asks questions about these issues utilizing visuals, speech, and our own heat.

In Kyllo v. US (2001), the Supreme Court ruled that thermal imaging required a search warrant, as it revealed too many intimate details that lay inside the walls of a home, such as “what hour each night the lady of the house takes her daily sauna and bath” (Justice Scalia). The essay will dissect these historical and contemporary applications of thermal imaging surveillance as used by the United States, where a right to privacy is guaranteed by a standard of “reasonability” in regards to what technology can and cannot be used, and is therefore in constant flux.

We hope you come out and get hot with us.

Maya's "artist" statement:
Maya Simkin is based in London and Chicago and on the www. They are interested in helping artists!!, interviews, visual/sound culture's pertinence to politics, making their own sauerkraut and hot sauce, books and paper, and collaborating with nice folx.

Riley’s artist statement:
Riley Cavanaugh is an artist from Chicago. Their work is currently focused on exploring the legality, humor, and aesthetics of various types of surveillance and data collection as well as “protection” from such things.. They enjoy collecting images that have gone awry in Google Street View, organizing events, and trying to learn new things for forever!!

Wed - 8.8.2018, 20:00 hacklab01, AKC, Pierottijeva 11, Zagreb


Hacklab01 is a project by AKC Attack and is financially supported by the Ministry of Culture of the Republic of Croatia, the National Foundation for Civil Society Development and the Kultura Nova Foundation.

Noviji Post Stariji Post