Proposed essay title/topic:
Panopticism in Contemporary Society: Policing & Surveillance.
Main issues addressed by your essay and the thrust of your argument:
- How & where the Panoptic model can be found within contemporary society.
- Surveillance as a form of monitoring, not protection & how society can be mislead.
- The impact of CCTV & speed cameras within modern society.
- Policing strategies & their impact on society.
Any visual material that you will look at:
- Pentonville Prison, Millbank Prison, Presido Modelo.
- 'The Office' sitcom
- Google Earth
- Bruce Nauman
- Vito Acconci
- Chris Burden
What theoretical approach/methodology will you use? e.g Marxism, gender analysis, the gaze etc:
Panopticism, Plato's allegory of The Cave, Simulation.
What specific theorists/writers will you refer to?:
Michel Foucault, Jeremy Bentham, Jean Baudrillard, Plato.
Five books/articles/resources already located (referenced using Havard):
Foucault, M. (1977) Discipline & Punish: The Birth of the Prison. London, Penguin.
Barker, P. (1998) Michel Foucault: An Introduction. Edinburgh, Edinburgh University Press.
Danaher, F. Schirato, T. & Webb, J. (2000) Understanding Foucault. London, SAGE Publications.
O'Farrell. C (2005) Michel Foucault. London, SAGE Publications.
'Panopticism' in Thomas, J. (2000) 'Reading Images', NY, Palgrave McMillan.
'Panopticism' in Hall, S. & Evans, J. (1998) Visual Culture a Reader. London, SAGE Publications.
Baudrillard, J. (1975) Simulacra & Simulation. Michigan, Michigan University Press.
SparkNote Editors. (n.d.). “Madness and Civilisation” at http://www.sparknotes.com/philosophy/madnessandciv/section2.rhtml (Accessed 13th March, 2010).
http://www.surveillance-and-society.org/ojs/index.php/journal/issue/archive
Hayles, N. (2009) 'Waking Up to the Surveillance Society' in Vol. 6, No. 3 at http://www.surveillance-and-society.org/ojs/index.php/journal/issue/view/Resistance (Accessed 13th March, 2010).
Billy Elliot (2000) Directed by Stephen Daldry and written by Lee Hall, UK.
Thursday 28 January 2010
Thursday 10 December 2009
Friday 4 December 2009
Task 02 - Adorno on Popular Music
To culminate the views of Theodor Adorno in reference to popular music, there are essentially two separate spheres; popular music and serious music. The main characteristic of popular music is that it is standardised in correlation to several conventions; verse/chorus structure, rhythm and key for example. 'The whole structure of popular music is standardized even where the attempt is made to circumvent the standardisation'. (Adorno, T. 1941 'Studies in Philosophy and Social Science', New York). Serious music on the other hand is believed to be of an authentic culture; a departure from mass culture that challenges the model of popular music and pushes its own boundaries and belief systems.
Referring back to the nature of popular music, Adorno argues that songs within this spherical classification are so structurally similar that they ultimately dictate the way in which they should be listened to. The subtle differences between songs still adhere to a fundamental framework and therefore 'the composition hears for the listener [and] dictates the way in which he must listen while, at the same time,[...] makes any effort in listening unnecessary.' (Adorno, T. 1941 'Studies in Philosophy and Social Science', New York). This theory can also be applied to genre classifications supplied to us by the popular music industries such as indie, rock or metal. They all provide the illusion that we have free choice, but in reality it is all pre-digested for us and masked by 'pseudo-individualisation'; 'the halo of free choice [that keeps listeners] in line by making them forget that what they listen to is already listened to for them'. (Adorno, T. 1941 'Studies in Philosophy and Social Science', New York).
What's more, a song can theoretically be enforced simply by its publicity or 'plugging'. The suggestion Adorno provides states that 'the basic principle behind it is that one need only repeat something until it is recognised in order to make it accepted'. (Adorno, T. 1941 'Studies in Philosophy and Social Science', New York).
Adorno also puts forward the idea that 'music today is largely a social cement' (Adorno, T. 1941 'Studies in Philosophy and Social Science', New York) and that listeners simply attribute behavioural reactions as a form of escapism from the bordem of everyday life. These reactions as suggested by Adorno can be classified in two contrasting ways, 'rhythmically obedient' or 'emotional'. The first outlines a response honoring the bodies wish to become a slave to the beat of the song, whilst the second suggests deeper meaning and an emotional connecting through the story or lyrical content.
An example I believe to support the theories of Adorno is 'Hallelujah' by Alexandra Burke.
The track successfully achieved a No.1 spot in the UK and Ireland subsequent to the artist winning the talent competition 'X-Factor'. A notion supporting the theory behind plugging.
Furthermore, the song itself has been covered numerous times and re-sold to consumers with great effect. At the time of this rendition occupying the No.1 spot, Jeff Buckley's version occupied the No.2 spot and the original Leonard Cohen version occupied the No.36 spot. That's the same song in the charts 3 times, all of which were released under the same record label therefore creating someone an enormous financial revenue.
Finally, due to the religious nature of this song and time of release being close to that of Christmas, I believe the response evoked from listening to this track would be more of an emotional one as opposed to a rhythmic obedience.
Referring back to the nature of popular music, Adorno argues that songs within this spherical classification are so structurally similar that they ultimately dictate the way in which they should be listened to. The subtle differences between songs still adhere to a fundamental framework and therefore 'the composition hears for the listener [and] dictates the way in which he must listen while, at the same time,[...] makes any effort in listening unnecessary.' (Adorno, T. 1941 'Studies in Philosophy and Social Science', New York). This theory can also be applied to genre classifications supplied to us by the popular music industries such as indie, rock or metal. They all provide the illusion that we have free choice, but in reality it is all pre-digested for us and masked by 'pseudo-individualisation'; 'the halo of free choice [that keeps listeners] in line by making them forget that what they listen to is already listened to for them'. (Adorno, T. 1941 'Studies in Philosophy and Social Science', New York).
What's more, a song can theoretically be enforced simply by its publicity or 'plugging'. The suggestion Adorno provides states that 'the basic principle behind it is that one need only repeat something until it is recognised in order to make it accepted'. (Adorno, T. 1941 'Studies in Philosophy and Social Science', New York).
Adorno also puts forward the idea that 'music today is largely a social cement' (Adorno, T. 1941 'Studies in Philosophy and Social Science', New York) and that listeners simply attribute behavioural reactions as a form of escapism from the bordem of everyday life. These reactions as suggested by Adorno can be classified in two contrasting ways, 'rhythmically obedient' or 'emotional'. The first outlines a response honoring the bodies wish to become a slave to the beat of the song, whilst the second suggests deeper meaning and an emotional connecting through the story or lyrical content.
An example I believe to support the theories of Adorno is 'Hallelujah' by Alexandra Burke.
The track successfully achieved a No.1 spot in the UK and Ireland subsequent to the artist winning the talent competition 'X-Factor'. A notion supporting the theory behind plugging.
Furthermore, the song itself has been covered numerous times and re-sold to consumers with great effect. At the time of this rendition occupying the No.1 spot, Jeff Buckley's version occupied the No.2 spot and the original Leonard Cohen version occupied the No.36 spot. That's the same song in the charts 3 times, all of which were released under the same record label therefore creating someone an enormous financial revenue.
Finally, due to the religious nature of this song and time of release being close to that of Christmas, I believe the response evoked from listening to this track would be more of an emotional one as opposed to a rhythmic obedience.
Thursday 3 December 2009
Thursday 26 November 2009
Thursday 19 November 2009
Sunday 15 November 2009
Task 01 - Panopticism and Police Stations
The iconic cultural depiction of a police interrogation room provides a perfect modern day example of the panoptic architectural environment outlined by Michel Foucault. A simple and straight forward room that is tight for space, plain magnolia in colour and very minimalistic in terms of furnishing or decoration; inclusive of the fine selection of closed-circuit television cameras scattered about the wall space.
Supporting Foucault's suggestion that 'visibility is a trap' it could be argued that the intense monitoring of the interrogation room is in the best interests of the public and/or the victim on the receiving end of the crime. A conjured up scenario going under the guise of protecting the principals of law enforcement as a means to obtain a correct version of events that subsequently ensure the supply of uncorrupted or unbiased data; a factor enhanced by the seclusion of the suspected individual(s) that produces a state in which 'there is no danger of contagion; if they are madmen there is no risk of them committing violence, there is no copying, no noise, no chatter, no waste of time'. (Foucault in Thomas, 2000 pg80).
The inferred culmination of this purpose would be to restore order and justice. In reality however it may be fair to suggest that 'thanks to its mechanisms of observation, [the interrogation process] gains in efficiency and in the ability to penetrate into men's behaviour; knowledge follows the advances of power'. (Foucault in Thomas, 2000 pgs84-85). Ultimately the evidence deduced is just a mere side-product reflective to that of the scenario in which the 'interviewee' has been subjected.
Asides from the already present CCTV camera set-up, the probable presence of a two-way mirror also acts as a tool that assists in ensuring that the suspected perpetrator of the crime is confined within a space where 'he is seen, but he does not see'. (Foucault in Thomas, 2000 pg80).
'This enclosed, segmented space, observed at every point, in which the individuals are inserted in a fixed place, in which the slightest movements are supervised, in which all events are recorded' (Foucault in Thomas, 2000 pgs77-78) all contribute to a perfect model of power where self regulation functions automatically due to fear; the panopticon internalizes in the individual the conscious state that he is always being watched; and it is through this that the media avidly portray scenes where the protagonist is left unsupervised to self-reflect and/or self-regulate in the hope that they will succumb to the powers of panopticon and re-consider the information that they wish to provide. The 'inspection functions ceaselessly. The gaze is alert everywhere'. (Foucault in Thomas, 2000 pg76).
References:
'Panopticism' in Thomas, J. (2000) 'Reading Images', NY, Palgrave McMillan.
'The Matrix' (1999) Directed and written by Andy Wachowski & Larry Wachowski, UK.
http://www.youtube.com/watch?v=4D7cPH7DHgA
15th November, 2009.
Supporting Foucault's suggestion that 'visibility is a trap' it could be argued that the intense monitoring of the interrogation room is in the best interests of the public and/or the victim on the receiving end of the crime. A conjured up scenario going under the guise of protecting the principals of law enforcement as a means to obtain a correct version of events that subsequently ensure the supply of uncorrupted or unbiased data; a factor enhanced by the seclusion of the suspected individual(s) that produces a state in which 'there is no danger of contagion; if they are madmen there is no risk of them committing violence, there is no copying, no noise, no chatter, no waste of time'. (Foucault in Thomas, 2000 pg80).
The inferred culmination of this purpose would be to restore order and justice. In reality however it may be fair to suggest that 'thanks to its mechanisms of observation, [the interrogation process] gains in efficiency and in the ability to penetrate into men's behaviour; knowledge follows the advances of power'. (Foucault in Thomas, 2000 pgs84-85). Ultimately the evidence deduced is just a mere side-product reflective to that of the scenario in which the 'interviewee' has been subjected.
Asides from the already present CCTV camera set-up, the probable presence of a two-way mirror also acts as a tool that assists in ensuring that the suspected perpetrator of the crime is confined within a space where 'he is seen, but he does not see'. (Foucault in Thomas, 2000 pg80).
'This enclosed, segmented space, observed at every point, in which the individuals are inserted in a fixed place, in which the slightest movements are supervised, in which all events are recorded' (Foucault in Thomas, 2000 pgs77-78) all contribute to a perfect model of power where self regulation functions automatically due to fear; the panopticon internalizes in the individual the conscious state that he is always being watched; and it is through this that the media avidly portray scenes where the protagonist is left unsupervised to self-reflect and/or self-regulate in the hope that they will succumb to the powers of panopticon and re-consider the information that they wish to provide. The 'inspection functions ceaselessly. The gaze is alert everywhere'. (Foucault in Thomas, 2000 pg76).
References:
'Panopticism' in Thomas, J. (2000) 'Reading Images', NY, Palgrave McMillan.
'The Matrix' (1999) Directed and written by Andy Wachowski & Larry Wachowski, UK.
http://www.youtube.com/watch?v=4D7cPH7DHgA
15th November, 2009.
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