Cheapest Zolpidem Online I have been thinking about what it means to try and work with networked cameras as a material, whether as part of critical infrastructure studies, or as a now well established aesthetic. “Brittlestars are not merely tools that we can use to teach us about biomimesis and enhanced communication networks. Brittlestars are living testimony to the inseparability of knowing, being, and doing.” – Karen Barad

"DIFFERENCES THAT MATTER: DIFFRACTIONS, DIFFERENTIAL EMBODIMENT, AND THE ONTOLOGY OF KNOWING The "eyes" made available in modern technological sciences shatter any idea ofpassive vision; these prosthetic devices show us that all eyes, including our own organic ones, are active perceptual systems, building in translations and specific ways of seeing, that is, ways of life. There is no unmediated photo- graph or passive camera obscura in scientific accounts of bodies and ma- chines; there are only highly specific visual possibilities, each with a wonder- fully detailed, active, partial way of organizing worlds. . . . Understanding how these visual systems work, technically, socially, and psychically ought to be a way ofembodying feminist objectivity. - D O N N A H A R A W A Y , Simians, Cyborgs, and Women "Eyeless Creature Turns Out to Be All Eyes," announces the New York Times. The Time.s article summarizes the results of a study published in the August 23, 2001, issue ofthe scientific journal Nature, in which an international team ofmaterial scientists, theoretical physicists, chemists, and biologists report their amazing finding that the brainless and eyeless creature called the brit- tlestar, an invertebrate cousin ofthe starfish, sea urchin, and sea cucumber, has a skeletal system that also functions as a visual system." “In Tijuana the participants took part in the live projection for the first time, thanks to a special head-mounted device comprising a camera, a microphone, and a portable transmitter. Blown-up to huge dimensions, the ‘live’ faces of six women and their amplified voices, speaking of issues that had until now been mostly taboo, meant the projection spectacularly claimed the city’s public space.” –

screen shot of someone's face projected live on to the side of a spherical building, wearing a camera and light, their face distorted by the shape of the projection and the lens distortion of the camera.

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“Although Luksch makes movies with CCTV, her methods are different from the sniffers’. For a decade, it has been anybody’s right to demand footage of themselves taken from CCTV cameras. Over a four-year period, Luksch has spent hours performing on the London streets beneath the glare of CCTV cameras and then going through the protracted process of making formal requests to retrieve the images from the cameras’ owners.” – &

Get Ambien Prescription Online screenshot of newspaper article with blurry image of a cctv display of a shopping centre. holding a sign that says "I don't pay" past a shop window as seen through a cheap camera.

Buy Generic Zolpidem Tartrate “Inspired by the classic 60-page piece of experimental literature from Georges Perec, ‘An Attempt at Exhausting a Place in Paris’, written from a bench over three days in 1974. ‘Exhausting a Crowd’ will automate the task of completely describing the events of 12 hours in a busy public space.” – “1 out of 10 women were targeted for ‘voyeuristic’ reasons by male camera operators, and a Brooklyn police sergeant blew the whistle on several of her colleagues in 1998 for ‘taking pictures of civilian women in the area … from breast shots to the backside’.” – IAA, iSee and The Myth of Privacy Vs. Security & &

instructions for using iSee, with screenshots of a route marked on a digital map of a city. "How to use iSee: 1) Click on starting location. An icon will appear. 2) Click on destination. iSEE will generate the safest 'path of least surveillance' between these two places." “As soon as an image is projected, it’s discarded.” – & pixels cut together on a screen projection behind someone sat at a desk. "The Pirate Cinema (Performance) Live Performance / Nicolas Maigret & Brendan Howell transmediale 2015" “Instead of having a conversation about services, prices, and condom use while still on the street, he’ll ask you to hop into his car and have that conversation while you’re already speeding away. Because you need to keep his custom in order to get the money you need, you say yes.” – Revolting Prostitutes, Juno Mac & Molly Smith page of text quote from book Revolting Prostitutes "Thinking of sex work as always, intrinsically violent, of course, hides the difference between a respectful client and an abusive one. Everywhere in the world, regardless of the legal model, street-based sex workers use a familiar range of safety strategies. For example, they might work together with a couple of friends, they might take time to assess a client before getting into his car, and they might have a friend write down his car's number plate to signal to him that someone will know who she's with. How does the criminalisation of clients shape or change these safety strategies? Working with a group of friends on the street makes you more visible to the police, which isn't something you can risk if you're hoping to make money. If you're too obviously visible as sex workers, even if you're not worried that you yourself will be arrested, clients won't want to risk approaching you for fear that _they_ will be arrested. Again, to get the client's money, you often have to cater to _his_ need for safety from arrest – by working alone rather than in a group. As for having a conversation before getting into his car, that is the time when he is _most_ visible to the police as a client, and therefore he will be keen to speed that process up. Instead of having a conversation about services, prices, and condom use while still on the street, he'll ask you to hop into his car and have that conversation while you're already speeding away. Because you need to keep his custom in order to get the money you need, you say yes. But that means you have no chance to reach a verbal agreement…" — Ben Dalton