RSVP via this link. Abstract Surveillance is key to the attention economy, creating assets that capitalise on exhaustion. Bodies as self-extractive media support a self-replicating ecology in a cinematic mode of existence, where both human and non-human wither under maximized visibility. A retroactive analysis finds roots of proto-surveillance in early documentary practices portraying colonized living environments.
Taking a decolonial and anarchival positioning, my practice seeks to unearth the mechanisms subjectifing bodies under the guise of medical and religious propaganda. These have been determinant for creating gender and race stereotypes of those native to exploited occupied territories during European colonialism. As method, I rely on transmedial artistic research by engaging in the making of film-based artwork with past and present precarious imagery comprising visual surveillance media footage that unveils stereotype-inducing ghosts inherent to the machine, but also testifies to modes of resistance emerging from intergenerational experience β where cataclysms similar to the Anthropocene have been a reality for the past five centuries.
Post-human theory is here considered as a medium, entangled and embedded in the production of pre-linguistic epistemic objects. Experimentation with establishing continuities between past and present archival footage, is in my present work a vehicle for unlocking and materializing a reclaimed agency and the haunting desire required to shift from the present control-based mode of production to emancipated living beyond burnout. Regularly presents at conferences, i.
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