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The Matrix is a 1999 American–Australian science fiction action film written and directed by Larry and Andy Wachowski and starring Keanu Reeves , Laurence Fishburne , Carrie-Anne Moss , Joe Pantoliano , and Hugo Weaving . It depicts a dystopian future in which reality as perceived by most humans is actually a simulated reality or cyberspace called "the Matrix", created by sentient machines to pacify and subdue the human population, while their bodies' heat and electrical activity are used as an energy source. Computer programmer " Neo " learns this truth and is drawn into a rebellion against the machines, which involves other people who have been freed from the "dream world".
The Matrix
Minority Report (film)
Minority Report is a 2002 American neo-noir science fiction film directed by Steven Spielberg and loosely based on the short story " The Minority Report " by Philip K. Dick . It is set primarily in Washington, D.C. , and Northern Virginia in the year 2054, where " PreCrime ", a specialized police department, apprehends criminals based on foreknowledge provided by three psychics called " precogs ". The cast includes Tom Cruise as PreCrime captain John Anderton, Colin Farrell as Department of Justice agent Danny Witwer, Samantha Morton as the senior precog Agatha, and Max von Sydow as Anderton's superior Lamar Burgess.
Able Danger
Able Danger was a classified military planning effort led by the U.S. Special Operations Command (SOCOM) and the Defense Intelligence Agency (DIA). It was created as a result of a directive from the Joint Chiefs of Staff in early October 1999 by Chairman of the Joint Chiefs of Staff Hugh Shelton , to develop an information operations campaign plan against transnational terrorism . In December 2006, a sixteen-month investigation by the US Senate Intelligence Committee concluded "Able Danger did not identify Mohamed Atta or any other 9/11 hijacker at any time prior to September 11, 2001," and dismissed other assertions that have fueled 9/11 conspiracy theories . The Senate Judiciary Committee first attempted to investigate the matter for the Senate in September, 2005.
Jonas Staal
Cover of Screens: Viewing Media Installation Art by Kate Mondloch Kate Mondloch’s first book, Screens: Viewing Media Installation Art (University of Minnesota Press), is a welcome study of the cathode ray tubes, liquid crystal and plasma displays, and film, video and data projections that “pervade contemporary life” (xi). The author reminds us that screens are not just “illusionist windows” into other spaces or worlds, but also “physical, material entities [that] beckon, provoke, separate, and seduce” (xii). Most importantly, however, Mondloch’s approach is that of an art historian.
Screening Screens
Discipline and Punish
Discipline and Punish: The Birth of the Prison ( French : Surveiller et punir: Naissance de la Prison ) is a 1975 book by the French philosopher Michel Foucault . An analysis of the social and theoretical mechanisms behind the massive changes that occurred in western penal systems during the modern age, it focuses on historical documents from France. Foucault argues against the idea that the prison became the consistent form of punishment due mainly to the humanitarian concerns of reformists .
Rhetorics of Surveillance from Bentham to Big Brother In 1785, the British philosopher Jeremy Bentham (1748-1832), founder of the doctrine of Utilitarianism, began working on a plan for a model prison called the panopticon. The signature feature of this design was that every one of the individual jail cells could be seen from a central observation tower which, however, remained visually inscrutable to the prisoners. Since they could thus never know for sure whether they were being watched, but had to assume that they were, the fact of actual observation was replaced by the possibility of being watched. As a rationalist, Bentham assumed that this would lead the delinquents to refrain from misbehaving, since in order to avoid punishment, they would effectively internalize the disciplinary gaze.
ctrl[space] : Rhetorics of Surveillance
Thomas Levin joined the faculty at Princeton in 1990 following graduate study in art history and philosophy at Yale University and after a year in Los Angeles as a fellow at the J. Paul Getty Center for the History of Art and the Humanities. His teaching and scholarship range from the history of aesthetic theory and Frankfurt School cultural theory to the history and theory of media.
Thomas Y. Levin
Examine the aesthetics, rhetorics, and politics of security and terror in the information age via media installations, videoconferences, public lectures, panels, and a student short-film competition. Take a virtual tour of the exhibition that transformed the new Watson Institute building into a living cultural laboratory by drawing together the work of artists, humanists, policymakers, and social scientists in a critical dialogue. <p style="text-align:right;color:#A8A8A8"></p>
911+1 The Perplexities of Security: A Multime
The assembly line was invented in 1913 and has been in continuous operation ever since. It is the most familiar form of mass production. Both praised as a boon to workers and condemned for exploiting them, it has been celebrated and satirized. (We can still picture Chaplin’s little tramp... Graham Allison Robert D. Blackwill When Lee Kuan Yew speaks, presidents, prime ministers, diplomats, and CEOs listen.
CTRL [SPACE]
Creating Insecurity Wolfgang Sützl&Geoff Cox
Bookstore note : Our bookstore is secure, working fine, and can take all major credit cards via Paypal... and we ship all over the planet... As always, thanks for your solidarity, patience and support for this all-volunteer effort! Autonomedia is an anti-profit radical media collective with 501(c)3 tax-exempt status. Contributions from interested and supportive individuals or organizations are most welcome and are tax-free to the limits of the law. We gratefully acknowledge support from the New York State Council on the Arts Literature Program and from the Materials for the Arts Program of the Department of Cultural Affairs of the City of New York.Jill Magid
http://www.ghostwatcher.com About the GhostWatcher q.
Gallery 9 - The GhostWatcher
Daniel Belasco Rogers was born in London in 1966. After a foundation at St Martin's College of Art, he studied Stage Design in Nottingham between 1986-89. In 2001, after many years working in experimental theatre in the UK, he started making solo lecture performances that investigate personal history through accidents and the process of the projection of one city onto another. Since April 2003 he has collected every journey he has made with a GPS , exhibiting maps of the resulting drawings and making performance lectures about this activity.
SHIFT - DANIEL BELASCO ROGERS
Physiognomy is the skill of interpreting a person’s personality from looking at their external features and in particular the face. These practices date as far back as ancient Greek civilisation and throughout history this pseudo-science has been accepted with mixed degrees of credibility. Though not really being taken seriously in this day and age, recent research has revealed that an individual’s facial characteristics can denote qualities of trustworthiness, social dominance and aggression.
Physiognomic Scrutinizer - Marnix de Nijs
Marie Sester | Projects | ACCESS
ACCESS lets you track anonymous individuals in public places, by pursuing them with a robotic spotlight and acoustic beam system. ACCESS presents control tools generated by surveillance technology combined with the advertising and Hollywood industries, and the internet. It refers to political propaganda and media manipulation. Beware.Installation/sculpture view, “Taystes_room” 2001 multimedia work is designed specifically for Cornerhouse Gallery, Manchester UK in collaboration of the artist with Andreas Angelidakis, architect and it has been produced as a special project for “Broken Channel” exhibition by Futuresonic 01, Festival. The installation has been conceived as a life size recreation of an elaborate voyeuristic cluster of six individual hubs covered with mirrors and equipped with LCD screen and computers create an environment, which fuses performance and sculpture, and the viewer is pulled into a vortex of voyeurism and dislocation. The “room” as an intimate space is no longer intimate .It is monitored and codified under the sign of surveillance.