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ID:
110475
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| Publication |
2011.
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| Summary/Abstract |
The nature of political power has changed with the advent of modern information technology while our theories and metaphors to understand it remain wedded to earlier periods. This article begins with a discussion of some of the work done by databases in domestic and world politics. In particular, it introduces the political effects of contemporary data-management practices through short examples of terrorist information databases, the 2008 Obama campaign's database, as well as biometric databases deployed in Iraq, Afghanistan and Liberia. This leads to a consideration of the finite applicability and relevance of the widespread metaphor of the Panopticon to these kinds of cases. Given the limitations of such an image, the concept of digital power and the political metaphor of Cuntz's Tower are proposed. Digital power foregrounds the importance of machines for contemporary sovereignty while moving beyond ocular-centric notions of surveillance. Cuntz's Tower illustrates the power of identification and sorting in addition to the Panopticon's emphasis on self-discipline. This article acts as an initial ground-clearing exercise for more extensive analyses of databases in domestic and world politics.
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| 2 |
ID:
167542
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| Summary/Abstract |
This article theorises what it means to challenge official regimes of surveillance in the War on Terror by further developing the notion of ‘sousveillance’. In particular, we focus on the performative dimension of surveillance by attending to its sites of struggle, particularly where alternative and counter-performances work to disrupt and dislodge official regimes of vision. These potent counter-performances have become important flashpoints for discussion in the ongoing negotiation of security state power since the onset of the War on Terror. The article begins by considering what it means to call surveillance ‘performative’ and how such official performances have had a documented chilling effect on free expression and democratic deliberation. It continues by exploring Steve Mann’s notion of ‘sousveillance’, or the view from below, as a theoretical resource for understanding counter-visual performances that otherwise challenge authoritarian surveillant practices. Finally, the article illustrates these dynamics through a number of sousveillant performances that have provoked new deliberative spaces in the context of the War on Terror.
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