|
发表于 2016-7-11 19:04:46
|
显示全部楼层
4. 2009年3月Section2 第四篇
入围原因:英国+隐私话题,有助于配合上课讲过的课文进一步整理背景知识。
Britain, somewhat proudly,has been crowned the most watched society in the world. The country boasts 4.2million security cameras (onefor every l4 people), a number expected to double in the next decade.A typical Londoner makes an estimated 300 closed-circuit television (CCTV) appearances a day, according to the Britishnonprofit surveillance Studies Network, an average easily met in the short walkbetween Trafalgar Square and the Houses of Parliament. Public opinion on thisstate of affairs is generally positive, according to recent polls. And howuseful is CCTV in busting bad guys? Not much, according to Scotland Yard. Interms of cost benefit, the enormous expenditure has done very little inactually preventing and solving crime.
Right under Big Brother'snose, a new class of guerrilla artists and hackers are commandeering theboring, grainy images of vacant parking lots and empty corridors for their ownpurposes. For about $80 at any electronics supply store and some technicalknow-how, it is possible to tap into London's CCTV hotspots with a simplewireless receiver (soldwith any home-security camera) and a battery to power it. Dubbed "videosniffing," the pastime evolved out of the days before broadband becamewidely availab1e, when “war-chalkers”scouted the city for unsecured Wi-Finetworks and marked them with chalk using special symbols. Sniffing is catchingon in other parts of Europe, spread by a small but globally connected communityof practitioners." It's actual1y a really relaxing thing to do on a Sunday"says Joao Wilbert, a master's student in interactive media, who s1owly pacesthe streets in London like a treasure hunter, carefully watching a tinyhandheld monitor for something to flicker onto the screen.
The excursions pick upobscure, random shots from the upper comers of restaurants and hotel lobbies,or of a young couple shopping in a housewares department nearby. Eerily, babycribs are the most common images. Wireless child monitors work on the samefrequency as other surveillance systems, and are almost never encrypted orsecured.
Given that sniffing isillegal, some artists have found another way to obtain security footage: theyask for it, in a letter along with a check for 10. In making her film"Faceless," Australian-born artist Manu Luksch made use of alittle-known law, included within Britain's Date Protection Act, requiring CCTVoperators to release a copy of their footage upon the request of anyonecaptured on their cameras. "Within the maximum period of 40 days Ireceived some recordings in my mail," says Luksch. "And I though,Wow, that works well. Why not make a feature length, science-fiction lovestory?" After four years of performing, staging large dance ensembles inpublic atriums and submitting the proper paperwork, Luksch produced a haunting,beautifully choreographed film and social commentary in which the operatorshave blocked out each and every performer's face, in compliance with Britain'sprivacy laws.
"The Duelists,"one of the more well known CCTV movies, was shot by filmmaker David Valentineentirely with the security cameras in a mall in Manchester. He was able tocajole his way into the control booth for the project, but he is also creditedwith having advanced video sniffing to an art form and social tool. He'scollaborated with MediaShed, an organization based in Southend-on-Sea justoutside London that works with homeless youth, using sniffing as a way to gaintheir interest and re-engage them with society.
In some cases videosniffing has morphed into a form of hacking, in which the sniffer does morethan just watch. Using a transmitter strong enough to override the frequencythat most cameras use, sniffers can hijack wireless networks and broadcastdifferent images back to the security desk. Most sniffers, hijackers and artistsusing CCTV are critical of the present level of surveillance, but they're alsointerested in establishing a dialogue about what is typically a secretivearrangement. The ability to tap into wireless surveillance systems and takethem over points out a flaw in the elaborate security apparatus that hasevolved around us.
As anthropologists tell us,the act of observation changes what's being observed. Cameras 'reorder theenvironment," says Graham Harwood, artistic director of the group Mongrel,which specializes in digital media. That's especially true of saturated London.Like "flash mobs" and "wifipicning," both large,spontaneous gatherings of people centered around communications technology,sniffing and hijacking could become the next high-tech social phenomenon. Ofcourse, it will likely disappear quickly once the survei1lance industry catcheson to the shenanigans and beefs up its security. But the cameras will remain.
|
|