Jalousie Room has three parts: a camera that meticulously and obsessively analyzes the street and buildings outside the gallery; a camera that is looking for a specific woman inside the main gallery; and a conversation that has previously taken place inside the room.
A ring of five cameras is configured to continuously monitor a 360-degree field of view. The resulting panorama is then displayed on five screens on a wall. Software filters the video captured by the cameras to show only one person on each screen. The footage of each person loops, only being replaced once a new person stands in front of one of the cameras.
Five cameras are located in the center of the gallery, panoptically configured to continuously monitor a 360-degree field of view. Computers process the video captured by the cameras and filter out any footage that contains movement. Five screens on the wall of the gallery construct a panoramic representation of the gallery via the camera feeds. Regardless of the number of people in the gallery, it always appears empty in the video footage. Although the panorama seems unified, each screen is temporally inconsistent and discontinuous with the others.
A new version of Today, too, I experienced something I hope to understand in a few days has been commissioned for the Abandon Normal Devices festival in Manchester, UK. In advance of the festival, forty new portraits were recorded of people from Manchester, and these will be used in combination with Facebook status posts by […]
The Technology Law Society at the University of Washington School of Law will host a panel discussion focused on surveillance art (the use of technology to record human behavior that provides commentary on the process of surveillance) and rights of the artist and public on Thursday, January 28 from 12:30 – 1:20 p.m. in William H. Gates Hall Room 127.