by Dmytri Kleiner and the
deadSwap is a social
experiment exploring the possibilities of creating an entirely off-line file-sharing
and communications platform where people pass a USB memory stick from one
to another. The co-ordination of the passing-on of the stick is done through
an anonymous SMS gateway, meaning that the system does not require Internet
availability, and also that with certain precautions can be a very private
is quite difficult to monitor. The system was developed for Sousveillance and the first version of the system will be launched during the event,
creating the world's first deadSwap network in Aarhus.
The deadSwap workshop by Dmytri Kleiner (CA) starts at 12.30 at the Department of Information and Media Studies, Helsingforsgade 14, 8200 Århus N, Wiener Building, meeting room.
by Leipziger Kamera (DE) and
Space Hijackers (UK)
A geographic and psychogeographic game exploring surveillance and the surveyed. Do we exist outside what others can see – a cropped view of society?
As we progress towards a world of human watchtowers and digital spies, are we but fugitives from a camera's eyes? Observing you observing us observing you as you watch us watching you watching us. Beware of inverse radio CCTV broadcasts. Spot the eco-friendly anti-surveillance head gear. Learn everything you never wanted to know about everybody. Practice your evil chuckles.
Self-surveillance / Protected
by Mare Tralla (EE/UK)
In Aarhus Mare Tralla
combines two of her public interventions 'Self-surveillance' and 'Protected'.
In a tradition of feminist performace art in "Self-surveillance"
Tralla ironically takes the act of surveillance and protection of her own
body into her own hands. The artist equips herself with portable self-surveillance
system, embedded into her clothing which is made visible by warning sign in
her T-shirt and ironic large flowers housing the cameras. The system observes
both the outside environment and her body, tracking and recording the movement
and changes of space and body as the artist simply walks through different
environments. The resulting 'video evidence' is a poetic animation of space
and body but totally useless as surveillance evidence. In "Protected"
Tralla continues the almost invisible actions as a series of live easel painting
performances, 'tracking the movements' of CCTV cameras throughout city spaces.
The artist will evoke this 16th century tradition, which set easel painters
free from the constraints of painting on walls or fixed, architectural schemes
and increased the social and intellectual status of the individual artist.
By painting the motives of CCTV cameras she draws attention to the hidden,
invisible or un-noticeable, in contemporary urban environment. The actions
often take place in public locations, where photographing CCTV systems is
not officially allowed thus also testing the rules and regulations which 'protect'
the 'protectors'. The simple action of painting in public is very visible
and often provokes reactions from passers-by, who engage with the artist to
discuss the issues around surveillance in their lives.