Surveillance Again

I've not been written here since July 29th, 2010...
well, let´s get back to blog!

tnks to nina gazire about these links @fb!!

Documents obtained by The Wall Street Journal open a rare window into a new global market for the off-the-shelf surveillance technology that has arisen in the decade since the terrorist attacks of Sept. 11, 2001.... >>


[R] CCTV Hacking :: From Surveillance to Broadcast #02

Michelle Teran is another artist with the same issue about capture wireless surveillance video signals (tks Paola for remember me about her!)

'Life: a user's manual' is a series of public performances and online mappings that examine the hidden stories captured by private wireless CCTV streams and how they intersect with the visible world around us.
The action of walking through the city and intercepting wireless surveillance feeds becomes a journey narrative of transient states, intertwinings between place and non-place, between the visible and the invisible, as one moves through and inhabits both the physical and the mediated. The city is a 'network of nowheres' defined by transience and absence, by borders and borderland states.

See also: [R] 2.4GHz surveillance video signals (07th June 2010)
and an old one: [R] SAIU NO JORNAL :: A ORDEM DO DISCURSO part#01 (26th September 2008)

André Lemos publicou tbm texto sobre o assunto no ano passado (2009):

Outro projeto interessante é o “Life. A User’s Manual” da canadense Michelle Teran. O projeto detecta vídeos de CCTV que usam redes Wi-Fi e os expõem na rua. A artista desenvolveu um dispositivo que intercepta essas imagens e, invertendo a lógica, as expões para os passantes no espaço público. Há aqui uma referência explícita à obra “Vida, modo de uso” de Georges Perec. O que é interno, privado e vigiado por poucos vira externo e visível para muitos. Como explica o site da artista:
“A tiny fraction of the radio spectrum has been allocated for public use. Taking
advantage of this unlicensed part of the spectrum, the result has been an increase in use of wireless devices that are transmitting on this narrow band. Private use
of wireless internet, cordless phones, bluetooth and wireless surveillance
cameras has turned the average consumer into 'micro-broadcasters' who transmit
their personal narratives through the airwaves. The culmination of these
autonomous and synchronous acts contributes to an invisible, ad-hoc network of
media overlaid within the socially codified spaces of urban environments, the
café, the home, the apartment building, the office, the store, the bar, the hallway,
the entrance, the parking lot and the street. 'Life: a user's manual' focuses on the
use of wireless surveillance cameras within public and private places that
transmit on the 2.4 Ghz frequency band. Easily intercepted using a consumer
model video scanner, the captured, live images create a sequence of readings and
views of the city and its inhabitants which are observed while walking through
the streets.”(


[R] 2.4GHz surveillance video signals

"CCTV Hacking :: From Surveillance to Broadcast"

Stencil by Banksy

I was talking about surveillance again in another art list and remember an interesting art work on this issue. For me it is so interesting because a dynamic difference between this proposal to another ones around surveillance issue: beside most of them is under to create and/or to perform with surveillance cameras system, Benjamin Gaulon has been walking around different towns in Europe to collect and record footage received with a device that search and capture surveillance video signals.

Do you know other art (or activist) work with surveillance issue in
our 21st century?!
Please tell us about then

participants are invited to explore the CCTV wireless networks of their city by searching and recording 2.4GHz surveillance video signals.

See also:
Performances Panopticadas (Brazilian Surveillance Art)
Broadcasting the panopticon
Sousveillance University Festival (2009)
Creative Tools 4Critical Times


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REPOSTED: Burroughs & Oswald de Andrade @ Remix Manifesto (2009)

"The remix as rebellion has a tradition that dates back to the Dadaists, William S. Burroughs, the cultural jammers and beyond"



Lawrence Lessig and more click here

(plus Antropofagia Movement, Gilberto Gil, brazilian favela funk, Negativland etc)
and take a look: Girl Talk uses a similar structure like it was used at our Oneself Cellphone Performance wow! ;)



Brazilian Digital Culture Memory:

An audiovisual brief about "Performances Panopticadas - Surveillance Wireless Vj'ing Performance" (2003-2006) followed by "Oneself Cellphone" (February 2008)


for this documentation, we inserted our own voices, also the music created for "Performances Panopticadas - Surveillance Wireless Vj'ing Performance" and some audios' excerpts extracted from youtube videos ("Michel Foucault On 'Disciplinary Society", "Michel Foucault; Sorvegliare e Punire", "Having something to say...", "Panopticon", "The Panopticon World We Live In Surveillance Society", "Panopticon Trailer").

We would like to thank AP & Fernando, the performers (Graziela, Monica, Luciana, Mariana, Sabrina, Grada, Sura, Sayuri), KFK, Lucas, Kellen, Georginha, Kinho, mau (in memorian), Flavinha, Carlos and all participants during our "Performances Panopticadas - Surveillance Wireless Vj'ing Performance". Also thanks a lot for all participants during "Oneself Cellphone" (February, 2008. Images: Leonardo Vinícius e Mariana Kadlec. Additional thanks to Miguel & Paulinho).


distributed during these last 6 years, The Panopticon Manifesto printed (2004) is copyleft since its beginning. 08 pages.
[Still left 130 simple samples and 40 numbered samples. If you want one of it, leave a message here]
Ainda restam para distribuição 130 manifestos impressos e 40 numerados. Se vc quiser um exemplar, deixe uma mensagem aqui conosco:

pages 04 & 05 scanned


Recuerdos de Mexico (D.F.)

No pude tomar fotos de los ambulantes con las mochilitas para venda de discos en el metro. Les pregunte y nadie quizo estar en una foto. Asi que me quede ahora buscando una imagen que representase estas mochilas con cajas de sonido con las cuales vendian cds en todos los trens del metro que estuve alli.

A pesar de contar con bocinas de alto voltaje para anunciar los CD de música que se venden en el metro no es fácil hacer oír 150 temas grabados en mp3. El vendedor tiene apenas la distancia entre parada y parada para describir su producto y además darlo a conocer. Una forma de hacerlo es avanzar la playlist en el reproductor, intercalando fragmentos de la canción con los verbos. Pero otra es la intromix.


Los pequeños fragmentos que se oyen activan la memoria similar del oyente en constante reproducción.

Nestor García Canclini: “Cuando las soluciones formales ya no se esperan de las instituciones públicas y las empresas privadas, amplios sectores recurren a procedimientos, personas o redes “irregulares”. La vasta difusión de estas tácticas informales las va convirtiendo en estrategias. Después de décadas de este abigarrado crecimiento la reproducción social y la gobernabilidad, o la simple subsistencia del país y de muchas ciudades ha cambiado de sentido”

Y asi, he encontrado tambien en este mismo sitio un exquisito video sobre los ambulantes (el comercio informal) en Mexico:

Wem gehört das Zentrum? – Die Verdrängung des Straßenhandels in Mexiko-Stadt



2em1 :: Sobre Detournement Again

Quarenta anos após Debord e outros artistas audiovisuais [seus contemporâneos] apostarem na apropriação – detournement – de materiais fílmicos para a criação de uma nova cultura, esta questão torna-se então mais forte; atualmente tal prática vem sendo ainda mantida sob o vocábulo de “roubo” – ou “pirataria” – numa simbologia de urgência necessária pelos jovens produtores/ realizadores da cultura digital.
“Writing, in the traditional sense of words placed on paper, is the ultimate form of democratic creativity ... that everyone within a society has access to the means to write. We teach everyone to write – in theory, if not in practice...” Imaginemos, portanto, uma realidade sócio-cultural onde todos estejam aptos a produzirem seus discursos [retóricas] não somente escritos verbalmente mas também audiovisual e multimidiaticamente
We understand quoting is an essential part of that writing. ... The freedom to quote, and to build upon, the words of others is taken for granted by everyone who writes ... is perfectly natural in a world where everyone can write. ... by clipping quotes from another authors ... of course, citation is required  [and] the cite is always sufficient payment”, ou seja, se dissertações e teses acadêmicas são escritas – apresentadas – em um contexto de citações [referências bibliográficas], este projeto parte da premissa de que há outras possíveis “formas democráticas de criatividade” [ou “formas de criatividades democráticas”] em nossos atuais tempos de Youtube...
De acordo com Merleau-Ponty, “o filósofo e o cineasta compartem uma certa maneira de ser, uma certa visão de mundo própria de uma geração” e Stam conclui: “Antecipando Deleuze, Merleau-Ponty via cinema e filosofia como formas cognatas de trabalho intelectual ... [a] experiência cinematográfica como uma experiência mediada de ser-no-mundo”. Talvez a denominação 'cineasta' possa ser traduzida atualmente para 'realizador audiovisual' e 'cinematográfica' complementada por 'multimidiática', grifos meus [op.cit.]

Se os mecanismos cinematográficos – como linguagem – não eram amplamente disponíveis a todos, conforme afirmava Metz na década de 60: “Todos os falantes de inglês a partir de uma certa idade aprenderam a dominar o código do inglês – são capazes, portanto, de produzir orações – mas a capacidade de produzir enunciados fílmicos depende de ... formação e acesso.” Talvez o mesmo estivesse vislumbrando uma cultura digital em rede quando afirmava que “pode-se cogitar de uma sociedade futura na qual todos os cidadãos terão acesso ao código da produção cinematográfica”, onde possamos, novamente compreender o 'cinematográfica' como 'audiovisual' das atuais novas mídias.

trechos do meu Relatório de Qualificação, 2009 [Cinema, Rádio e Televisão @ ECA-USP]


para patricia:

Tenho que achar os arquivos em video oriundos da ultima decupagem [2008], mas estes sao alguns dos frames utilizados no meu penultimo texto sobre Guy Debord e "A Sociedade do Espetáculo" [tbm de 2008]...

Estes frames -- retirados do filme --, tal qual o livro, partem de uma multi-divisão em temas complementares da "teoria de Debord". Acho que seria interessante vc ler o capítulo VIII: "A negação e o consumo na cultura"; e alguns trechos de "A mercadoria como espetáculo". Se precisar de algo mais, avise. Boa sorte.


(arquivo .zip)


[R] What Situation, Huh Debord?*

I was looking for my master degree theme and google founded a japanese site with a lot of links to Guy Debord... this video [october 2009] is part of a curious documentary about "The Game of War":

What is much less well known is that after the May '68 Revolution, Debord and his partner - Alice Becker-Ho - quit Paris and went to live in a remote French village. Over the next two decades, Debord devoted much of the rest of his life to inventing, refining and promoting what he came to regard as his most important project...

¿Had Debord & Alice read Deleuze & Guatari at that days?

*"What Situation, Huh Debord?" [¿or "Which Situation Huh, Debord?"?] was one of my projects' title about the cultural multimedia situation in Brazil [2004-2006], based on mmnehcft experience about the modal formule related to Situationist rules.


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