Because certain privileged vantage points of seeing can be in uneasy relation with modes of surveillance and paranoiac methods of interpretation…
How do the desires of visual and cultural criticism to ‘capture’ its content and render it into some legible form coexist with the limits of one’s training and perspectives? How are forms of visual criticism complicit with the forces of spectatorship or academic discourse?
Taking a Reading: tripod, cameras, audio
(& late at the office, as I was working on the question of framing spectatorship & talking with Kari Orvik about the proliferation of surveillance cameras in the Mission, I looked out the window & realized that with the sun down & the lights up, it was I who was being watched, on display in the gallery for those across the street, an unwitting work of social sculpture…)
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