{"id":2,"date":"2016-12-19T13:25:17","date_gmt":"2016-12-19T13:25:17","guid":{"rendered":"http:\/\/blogs.bard.edu\/wearewatching\/?page_id=2"},"modified":"2017-04-24T14:32:10","modified_gmt":"2017-04-24T14:32:10","slug":"syllabus","status":"publish","type":"page","link":"https:\/\/blogs.bard.edu\/wearewatching\/syllabus\/","title":{"rendered":"SYLLABUS"},"content":{"rendered":"

Bringing together diverse perspectives on surveillance that span literature, music, film, critical theory, and beyond selected by the artists featured in We\u2019re Watching. <\/em>Click here<\/a>\u00a0for a .pdf version.<\/h3>\n

\u00a0<\/em><\/p>\n

Claudia Rankine of What Remains<\/em><\/strong><\/span><\/p>\n

*<\/span>\u00a0<\/em>Cach\u00e9 <\/em>Michael Haneke (Les Films du Losange, 2005)<\/p>\n

 <\/p>\n

John Lucas of What Remains<\/em><\/strong><\/span><\/p>\n

*<\/span>\u00a0<\/em>Situation 8, John Lucas and Claudia Rankine<\/a><\/em><\/span><\/p>\n

 <\/p>\n

Will Rawls of<\/strong> What Remains<\/em><\/strong><\/em><\/span><\/p>\n

*\u00a0<\/span><\/em>\u00c9douard Glissant, The Poetics of Relation<\/em>, (University of Michigan Press, 1997)<\/p>\n

 <\/p>\n

Alexandro Segade of Future St.<\/em><\/strong><\/span><\/p>\n

*<\/span>\u00a0<\/em>Critical Art Ensemble, Flesh Machine: Cyborgs, Designer Babies, Eugenic Consciousness<\/em> (Autonomedia 1998)<\/a><\/p>\n

*<\/span>\u00a0<\/em>Yevgeny Zamyatin, We<\/em> (E. P. Dutton, 1924)<\/p>\n

*<\/span>\u00a0<\/em>Looker<\/em>, directed by Michael Crichton, (Warner Bros. 1981)<\/p>\n

*<\/span>\u00a0<\/em>1984<\/em> soundtrack by Eurhythmics (RCA Records, 1984)<\/a><\/p>\n

 <\/p>\n

Hasan Elahi of Retina<\/em><\/strong><\/span><\/p>\n

*<\/span>\u00a0<\/em>Guillermo Verdecchia, Citizen Su\u00e1rez<\/em> (Talonbooks, 1998)<\/p>\n

*<\/span>\u00a0<\/em>David Brin, The Transparent Society<\/em> (Perseus Press, 1998)<\/p>\n

*<\/span>\u00a0<\/em>Frances Stonor Saunders, The Cultural Cold War: The CIA and the World of Arts and <\/em>Letters<\/em> (The New Press, 2013)<\/p>\n

*<\/span>\u00a0<\/em>Herbert Mitgang, Dangerous Dossiers <\/em>(D.I. Fine, 1988)<\/p>\n

\u00a0<\/em><\/strong><\/p>\n

Sam Miller of <\/strong>Foundation for Healing<\/em><\/strong><\/span><\/p>\n

*<\/span>\u00a0<\/em>Robert Sheckley, \u201c<\/em>Watchbird\u201d (Pulphouse Publishing, 1990)<\/a><\/p>\n

 <\/p>\n

Michelle Ellsworth of The Rehearsal Artist<\/em><\/strong><\/span><\/p>\n

*<\/span>\u00a0<\/em>Robert Chesney, Jack Goldsmith, and Benjamin Wittes, The Lawfare Blog<\/em> (2010-present)<\/a><\/p>\n

*<\/span>\u00a0<\/em>Carol Rosenberg for the Miami Herald<\/em><\/a><\/p>\n

*<\/span>\u00a0<\/em>Trevor Paglen<\/a><\/p>\n

*<\/span>\u00a0<\/em>2001<\/em>: A Space Odyssey<\/em>, directed by Stanley Kubrick, (Stanley Kubrick Productions, 1968)<\/p>\n

\u00a0<\/strong><\/p>\n

Annie Dorsen of The Great Outdoors<\/em><\/strong><\/span><\/p>\n

*<\/span>\u00a0<\/em>John Perry Barlow, \u201cA Declaration of the Independence of Cyberspace\u201d (1996)<\/a><\/p>\n

 <\/p>\n

Caden Manson and Jemma Nelson (Big Art Group) of Opacity<\/em><\/strong><\/span><\/p>\n

*<\/span>\u00a0<\/em>Norbert Wiener, Introduction of Cybernetics: Or Control and Communication in the Animal and the Machine, 2nd edition. (The M.I.T. Press, 1961). Pages 27\u201329. <\/a><\/p>\n

*<\/span>\u00a0<\/em>Shoshana Zuboff, \u201cBig Other: Surveillance Capitalism and the Prospects of an Information Civilization\u201d (Journal of Information Technology, March 2015, Volume 30, issue 1, pp 75\u201389)<\/a><\/p>\n

*<\/span>\u00a0<\/em>John Zerzan, \u201cThe Age of Grief\u201d (2002)<\/a><\/p>\n

*<\/span>\u00a0<\/em>Micah Brown, \u201cEmotion vs. Sentiment Analysis – The Difference\u201d (Centiment)<\/a><\/p>\n

*<\/span>\u00a0<\/em>B. Coleman, Hello Avatar<\/em> (M.I.T. Press, 2011)<\/p>\n","protected":false},"excerpt":{"rendered":"

Bringing together diverse perspectives on surveillance that span literature, music, film, critical theory, and beyond selected by the artists featured in We\u2019re Watching. Click here\u00a0for a .pdf version. \u00a0 Claudia […]<\/p>\n","protected":false},"author":542,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.bard.edu\/wearewatching\/wp-json\/wp\/v2\/pages\/2","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.bard.edu\/wearewatching\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.bard.edu\/wearewatching\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.bard.edu\/wearewatching\/wp-json\/wp\/v2\/users\/542"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.bard.edu\/wearewatching\/wp-json\/wp\/v2\/comments?post=2"}],"version-history":[{"count":8,"href":"https:\/\/blogs.bard.edu\/wearewatching\/wp-json\/wp\/v2\/pages\/2\/revisions"}],"predecessor-version":[{"id":397,"href":"https:\/\/blogs.bard.edu\/wearewatching\/wp-json\/wp\/v2\/pages\/2\/revisions\/397"}],"wp:attachment":[{"href":"https:\/\/blogs.bard.edu\/wearewatching\/wp-json\/wp\/v2\/media?parent=2"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}