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UID:20211013T1946Z-1634154370.0353-EO-22742-37@10.19.146.14
STATUS:CONFIRMED
DTSTAMP:20260915T231212Z
CREATED:20170203T001732Z
LAST-MODIFIED:20210816T192643Z
DTSTART;TZID=America/Vancouver:20130121T193000
DTEND;TZID=America/Vancouver:20130121T223000
SUMMARY: Tracking Changes: Voyeurism and Surveillance in Video
DESCRIPTION: Film screening curated by AHVA graduate students We perform ou
 r daily routines in environments\, virtual or real\, that record and use ou
 r images\, information\, and biographic details in diverse ways. Aware that
  surveillance cameras and tracking systems are pervasive\, we habitually fi
 lter out their presence regardless. Our ability to tolerate and even flaunt
  this omnidirectional\, […]
X-ALT-DESC;FMTTYPE=text/html: <p>Film screening curated by AHVA graduate st
 udents</p><p>We perform our daily routines in environments\, virtual or rea
 l\, that record and use our images\, information\, and biographic details i
 n diverse ways. Aware that surveillance cameras and tracking systems are pe
 rvasive\, we habitually filter out their presence regardless. Our ability t
 o tolerate and even flaunt this omnidirectional\, surveillant gaze relies o
 n assumptions about the frequency and banality of surveillance activity. As
  society moves towards a structure that is fully regulated\, tracked\, and 
 documented\, the volumes of image-data required are furiously expanding\, f
 illing up ever-accumulating archives that paradoxically function to erase a
 s much as to preserve.</p><p>The artists in this program find ways to make 
 this seemingly inadequate data speak\, to locate the extraordinary within t
 he trivial. In Christina Battle’s short video\, the CIA’s legacy of spying 
 and the mysterious secrecy of its archive visually erupts\, only to reveal 
 a paucity of information and the mundane labour of filing. John Smith likew
 ise offers minimal yet pointed visual imagery while producing a personal na
 rrative that navigates the increasing pressures of state surveillance accum
 ulating outside the frame. And in her experimental documentary Rebecca Baro
 n explores historical precedents for public surveillance through the twinne
 d developments of lens-based camera technology and the mass observation mov
 ement. In each of the works\, the technologies of surveillance reveal thems
 elves at once as personally subjective\, authoritatively powerful\, and det
 ermined by multiple\, unknowable agents. —  STEPHEN WICHUK AND JAYNE WILKIN
 SON</p><p><em>Wandering Through Secret Storms</em>  Christina Battle/Canada
  2009. DV\, 6 mins.<br /><em>Frozen War</em>  John Smith/Great Britain 2002
 \, DV\, 13 mins.<br /><em>Dirty Pictures</em>  John Smith/Great Britain 200
 2. DV\, 14 mins.<br /><em>How Little We Know of Our Neighbours</em>  Rebecc
 a Baron/USA 2005. DV 49 mins.</p><p>Total running time: approx. 83 mins.</p
 ><p>This program was curated by graduate students at the University of Brit
 ish Columbia in a seminar\, led by <strong>John O’Brian</strong> of the Dep
 artment of Art History\, Visual Art\, and Theory\, titled “Surveillance\, V
 oyeurism\, Criminality\, and Photography.” Participants included <strong>Vi
 kki Addona\, Kate Henderson\, Jeremy Jaud\, Kyoung Yong Lee\, Dana Loughlin
 \, Vanessa Parent\, Robin Simpson\, Sofia Stalner\, Shalini Vanan\, Stephen
  Wichuk\,</strong> and <strong>Jayne Wilkinson.</strong></p><p>For ticket i
 nformation please visit: <a href="http://www.thecinematheque.ca/">http://ww
 w.thecinematheque.ca</a></p>
LOCATION:Pacific Cinematheque
GEO:49.278647;-123.126486
URL;VALUE=URI:https://ahva.ubc.ca/events/event/tracking-changes-voyeurism-a
 nd-surveillance-in-video/
ATTACH;FMTTYPE=image/jpeg:https://ahva.cms.arts.ubc.ca/wp-content/uploads/sites/37/2021/05/1158.jpg
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TZID:America/Vancouver
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TZOFFSETFROM:-0700
TZOFFSETTO:-0800
DTSTART:20121104T090000
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