Frederick Douglass, in his first autobiography, Narrative of the Life of Frederick Douglass, describes how his sociopolitical identity was scripted by the white other and how his spatiotemporal existence was likewise constrained through constant surveillance and disciplinary dispositifs. Even so, Douglass was able to assert his humanity through creative acts of resistance. In this essay, I highlight the ways in which Douglass refused to accept the other-imposed narrative, demonstrating with his life the truth of his being—a human being unwilling to (...) be classified as thing or property. As I engage selected passages and key events from Douglass's narrative, I likewise explore the ways in which the resistance tactics. (shrink)

Frantz Fanon offers a lucid account of his entrance into the white world where the weightiness of the ‘white gaze’ nearly crushed him. In chapter five of Black Skins, White Masks, he develops his historico-racial and epidermal racial schemata as correctives to Merleau-Ponty’s overly inclusive corporeal schema. Experientially aware of the reality of socially constructed (racialized) subjectivities, Fanon uses his schemata to explain the creation, maintenance, and eventual rigidification of white-scripted ‘blackness’. Through a re-telling of his own experiences of racism, (...) Fanon is able to show how a black person in a racialized context eventually internalizes the ‘white gaze’. In this essay I bring Fanon’s insights into conversation with Foucault’s discussion of panoptic surveillance. Although the internalization of the white narrative creates a situation in which external constraints are no longer needed, Fanon highlights both the historical contingency of ‘blackness’ and the ways in which the oppressed can re-narrate their subjectivities. Lastly, I discuss Fanon’s historically attuned ‘new humanism’, once again engaging Fanon and Foucault as dialogue partners. (shrink)

Deepfakes are algorithmically modified video and audio recordings that project one person’s appearance on to that of another, creating an apparent recording of an event that never took place. Many scholars and journalists have begun attending to the political risks of deepfake deception. Here we investigate other ways in which deepfakes have the potential to cause deeper harms than have been appreciated. First, we consider a form of objectification that occurs in deepfaked ‘frankenporn’ that digitally fuses the parts of different (...) women to create pliable characters incapable of giving consent to their depiction. Next, we develop the idea of ‘illocutionary wronging’, in which an individual is forced to engage in speech acts they would prefer to avoid in order to deny or correct the misleading evidence of a publicized deepfake. Finally, we consider the risk that deepfakes may facilitate campaigns of ‘panoptic gaslighting’, where many systematically altered recordings of a single person's life undermine their memory, eroding their sense of self and ability to engage with others. Taken together, these harms illustrate the roles that social epistemology and technological vulnerabilities play in human ethical life. (shrink)

This paper questions the use of new technologies as tools of modern surveillance in order to: (a) advance the research done by Michel Foucault on panoptic techniques of surveillance and dominance; and (b) give new insights on the way we use these new surveillance technologies in violation of democratic principles and legal norms. Furthermore, it questions Foucault’s statements on the expansion of Bentham’s Panopticon scheme as a universal model of modern-day democratic institutions. Therefore the purpose of this paper is (...) to (c) shed new light on the various ways the deployment of new technologies reinforces the Panopticon model, and (d) conduct an analysis of the effects produced by the emerging modes of surveillance that empower various new mechanisms of domination and control of individuals. This research paper seeks to (e) examine to what extent technology influences the course of our social, political and behavioral changes; and to propose devices for (f) evaluation and transformation of democratic institutions and practices that rely on the use of modern communication tools and technologies. Our cities have become a new kind of technologically driven Panopticon and this model has achieved perfection as increasingly fragmented, disseminated and ubiquitous device of power and dominance. (shrink)

Urban centers are being transformed into consumer tourist playgrounds made possible by dense networks of surveillance. The safety and entertainment however, come at an unseen price. One of the historical roots of surveillance can be connected to the modern information base of tracking individuals for economic and political reasons. Though its antecedents can be traced via Foucault's account of panoptic discipline which walled in society's outcasts for rehabilitation, the following essay explores the shift to the urban panopticism of today (...) where society's outcasts are subtly filtered out of "public" view. Juxtaposing a sociological account of the concentration camp with urban Disneyization fosters a greater understanding of how surveillance creates certain categories of citizenship. In particular, how urban surveillance intensifies Walter Benjamin's description of the flâneur who often experiences the brunt of the new urban panopticon's filtering power. (shrink)

‘Torture porn’ films centre on themes of abduction, imprisonment and suffering. Within the subgenre, protagonists are typically placed under relentless surveillance by their captors. CCTV features in more than 45 contemporary torture-themed films (including Captivity, Hunger, and Torture Room). Security cameras signify a bridging point between the captors’ ability to observe and to control their prey. Founded on power-imbalance, torture porn’s prison-spaces are panoptical. Despite failing to encapsulate contemporary surveillance’s complexities (see Haggerty, 2011), the panopticon remains a dominant paradigm within (...) surveillance studies because it captures essential truths about the psychologies of self-governance and interdependency. This chapter will use torture porn’s panoptical spaces and captor-captive relationships as a springboard into examining those broader philosophical issues regarding selfhood. In the torture-space, cameras signify the control to which captives must submit. Since they are threatened with death, the surveillance dynamic appears to entirely subjugate these prisoners. However, the captive must undertake some agency in the oppression. Much of the captor’s implied threat is enacted by the captives, who brutalise one another to save themselves. The captor’s apparent omniscience is translated into omnipotence only because the captives forsake self-control – opting to engage in violent, contra-social behaviours – out of fear. Thus, it is implied that self-ownership is the bedrock of stable, interdependent sociality. To inspire horror, the opposite is depicted: fractured groups comprised of paranoid, self-invested individuals. By submitting to external pressure, these “weak” individuals empower their tormentor. Captives are not only encouraged to enact their own suppression, but also to internalise culpability for the suffering they undergo. Despite being threatened with erasure, torture porn’s protagonists are spotlighted in these films. Abductees dominate the screen-time, and their suffering drives the narrative forward. Torturers are often motivated solely by their victims’ agony. In many cases, torture is designed specifically for each hyper-individualised captive. These forms of emphasis imply that captives are the stimulus for their own victimisation. The captor’s exaggerated interest in the prisoners is perversely flattering: captives are implied to be worthy of the captor’s maniacal attention, which is reified by the CCTV cameras. In torture porn’s scenarios, it is not immediately clear who has greater control over the individual: the captor or the captive themselves. By dissecting how self-preservation, self-governance, and self-centredness manifest in torture porn, this chapter seeks to examine the dialectical qualities of liberty, interdependency and autonomy. (shrink)

About the main psychological and philosophical aspects detached from the film Solaris directed by Andrei Tarkovski, as well as the cinema techniques used by the director to convey his messages to the spectator. In the "Introduction" I briefly present the relevant elements of Tarkovski's biography and an overview of Stanislav Lem's Solaris novel and the film Solaris directed by Andrei Tarkovsky. In "Cinema Technique" I talk about the specific rhythm of the scenes, the radical movement triggered by Tarkovsky in modern (...) cinema, the role of symbolic and iconic elements, and affinities with the fantastic area of Russian literature. In Psychological Aspects I analyze the issue of communication in a human society of the future considered by Tarkovsky as rigid, the obsession of the house, and the personal evolution of Kris, Hari, and the relationships between them. In Philosophical Aspects, the film is analyzed through the philosophy of the mind (Cartesian dualism, reductionism and functionalism), the problem of personal identity, the theory of heterotopic spaces developed by Michel Foucault, and the semantic interpretations that can be deduced from the film. It also analyzes the issue of personal identity through Locke's philosophy. "Conclusions" show the general ideas of this essay, namely that Man's attempts to classify and maintain forms of interaction with unknown entities will always be condemned to failure and will reflect a major mistake in the panoptic world in which we live. In this framework of analysis of the philosophy of mind, functionalism seems to be the most intuitive. Solaris is, however, a movie that begins as a search for answers and comes to provide these answers with a whole range of different questions. -/- CONTENTS: -/- Abstract Introduction 1 Cinema technique 2 Psychological Aspects 3 Philosophical aspects Conclusions Bibliography Notes -/- DOI: 10.58679/MM59030 , ISBN 978-606-033-225-1. (shrink)

Prison, porsuing the work of Erwing Goffman, and Paul Valéry, au-delá of Victor Turner.

In this paper I point to the degraded value of hope in the contemporary digital world and discuss the dangers of this transformation. Hope constitutes one of the basic drives that sustains vitality in the human species. Especially contemporary philosophers such as Hume, Kant, and Bloch, among others, consider hope from a philosophical perspective and despite their differences, they agree on the overall importance of hope as one of the fundamental motivations of humans towards a future life that makes striving (...) possible. However, in the contemporary world, starting with the film industry as Adorno and Horkheimer stated, and later advanced by social media practices, hope becomes solely a hope of fame. This desire for fame is such that, as Baudrillard anticipated before the widespread use of the internet and the emergence of social media, a panoptical system is no longer required as people share their private life publicly, 'hoping' that they gain more followers, likes and attention. People exhibit 'glamorous', 'beautiful', and 'delicious' moments that constrain hope to one dimension and disconnect it from reality. From these points, I argue that what the contemporary world presents is a passive, negative hope that marks the loss of hope which should be productive and transformative. (shrink)