This Exegesis and accompanying artworks are the culmination of research conducted into the existe... more This Exegesis and accompanying artworks are the culmination of research conducted into the existence of surveillance in virtual worlds. A panoptical model has been used, and its premise tested through the extension into these communal spaces. Issues such as data security, personal and corporate privacy have been investigated, as has the use of art as a propositional mode.
This Exegesis contains existing and new theoretical arguments and observations that have aided the development of research outcomes; a discussion of action research as a methodology; and questionnaire outcomes assisting in understanding player perceptions and concerns.
A series of artworks were completed during the research to aid in understanding the nature of virtual surveillance; as a method to examine outcomes; and as an experiential interface for viewers of the research. The artworks investigate a series of surveillance perspectives including parental gaze, machine surveillance and self-surveillance.
The outcomes include considerations into the influence surveillance has on player behaviour, security issues pertaining to the extension of corporations into virtual worlds, the acceptance of surveillance by virtual communities, and the merits of applying artworks as proposition.
In this essay, we attempt to describe and theorise some salient elements in the transformation of... more In this essay, we attempt to describe and theorise some salient elements in the transformation of the structure of public address at once incarnated and effected by the ongoing enthusiasm for big screens in urban spaces. Our key conclusion is that contemporary big screen art at once tends to work to expose, exploit and exceed these forces, from the point of conception, through the process of creation, to the finality of circulation. At the same time, the regulatory processes that organise the uses of big screens are tantamount to the inculcation of certain controls on creativity, seeking to capture and canalise aesthetic affects for governmental and corporate ends by, above all, a kind of fiscal moralisation of technology. Economic and ethical concerns are here so tightly interwoven with administrative and marketing constraints that the art itself cannot avoid particular kinds of conformism without being abruptly censored or never appearing at all, thereby succumbing to new kinds of prepublication censorship. Notably, the actuality of such censorship entails a kind of de facto return to non-democratic forms of government. Under these conditions, there is a new necessity for artists to anticipate possible consequences of adverse privatised publicity in order to continue to work at all. Draft chapter for "Ambient Screens and Transnational Public Spaces" edited by Nikos Papastergiadis, 2016.
This Exegesis and accompanying artworks are the culmination of research conducted into the existe... more This Exegesis and accompanying artworks are the culmination of research conducted into the existence of surveillance in virtual worlds. A panoptical model has been used, and its premise tested through the extension into these communal spaces. Issues such as data security, personal and corporate privacy have been investigated, as has the use of art as a propositional mode.
This Exegesis contains existing and new theoretical arguments and observations that have aided the development of research outcomes; a discussion of action research as a methodology; and questionnaire outcomes assisting in understanding player perceptions and concerns.
A series of artworks were completed during the research to aid in understanding the nature of virtual surveillance; as a method to examine outcomes; and as an experiential interface for viewers of the research. The artworks investigate a series of surveillance perspectives including parental gaze, machine surveillance and self-surveillance.
The outcomes include considerations into the influence surveillance has on player behaviour, security issues pertaining to the extension of corporations into virtual worlds, the acceptance of surveillance by virtual communities, and the merits of applying artworks as proposition.
In this essay, we attempt to describe and theorise some salient elements in the transformation of... more In this essay, we attempt to describe and theorise some salient elements in the transformation of the structure of public address at once incarnated and effected by the ongoing enthusiasm for big screens in urban spaces. Our key conclusion is that contemporary big screen art at once tends to work to expose, exploit and exceed these forces, from the point of conception, through the process of creation, to the finality of circulation. At the same time, the regulatory processes that organise the uses of big screens are tantamount to the inculcation of certain controls on creativity, seeking to capture and canalise aesthetic affects for governmental and corporate ends by, above all, a kind of fiscal moralisation of technology. Economic and ethical concerns are here so tightly interwoven with administrative and marketing constraints that the art itself cannot avoid particular kinds of conformism without being abruptly censored or never appearing at all, thereby succumbing to new kinds of prepublication censorship. Notably, the actuality of such censorship entails a kind of de facto return to non-democratic forms of government. Under these conditions, there is a new necessity for artists to anticipate possible consequences of adverse privatised publicity in order to continue to work at all. Draft chapter for "Ambient Screens and Transnational Public Spaces" edited by Nikos Papastergiadis, 2016.
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This Exegesis contains existing and new theoretical arguments and observations that have aided the development of research outcomes; a discussion of action research as a methodology; and questionnaire outcomes assisting in understanding player perceptions and
concerns.
A series of artworks were completed during the research to aid in understanding the nature of virtual surveillance; as a method to examine outcomes; and as an experiential interface for viewers of the research. The artworks investigate a series of surveillance perspectives including parental gaze, machine surveillance and self-surveillance.
The outcomes include considerations into the influence surveillance has on player behaviour, security issues pertaining to the extension of corporations into virtual worlds, the acceptance of surveillance by virtual communities, and the merits of applying artworks as proposition.
This Exegesis contains existing and new theoretical arguments and observations that have aided the development of research outcomes; a discussion of action research as a methodology; and questionnaire outcomes assisting in understanding player perceptions and
concerns.
A series of artworks were completed during the research to aid in understanding the nature of virtual surveillance; as a method to examine outcomes; and as an experiential interface for viewers of the research. The artworks investigate a series of surveillance perspectives including parental gaze, machine surveillance and self-surveillance.
The outcomes include considerations into the influence surveillance has on player behaviour, security issues pertaining to the extension of corporations into virtual worlds, the acceptance of surveillance by virtual communities, and the merits of applying artworks as proposition.