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This conference aims to study the cultures and society of surveillance. The goal is to bring together literary, cultural and surveillance studies to provide a transdisciplinary framework and generate new approaches to fundamental questions: How has surveillance changed historically and how have these changes been discussed both in the American and in the transnational context? How have these changes been represented in literary and visual culture? What is the ideological significance of surveillance-related genres like the detective or spy novel? Is there an "ethics" of surveillance and how are ethical questions negotiated in literature and culture? How is "meaning"produced textually and semiotically in a surveillance situation? How can cultural artifacts like novels or films operate as actors in the multiple networks of surveillance? How can the processes of subject formation that constitute the observers as well as the observed be described? How do the arts reflect the challenges to the individual posed by technological development? How does the omnipresence of various gazes affect cultural narratives of the "self"? ; https://surveillanceconference2016.wordpress.com/

What only a few decades ago would have been considered a totalitarian nightmare seems to have become reality: Surveillance practices and technologies have infiltrated all aspects of our lives, forcing us to reconsider established notions of privacy, subjectivity, and the status of the individual in society. The United States is central to contemporary concerns about surveillance. American companies are at the forefront of developing surveillance technologies; and government agencies, in the name of security and law and order, are monitoring our words and actions more than ever before. This book brings together an interdisciplinary group of scholars to explore the implications of what many consider to be a far-reaching social, political, and cultural transformation. ; Florian Zappe and Andrew S. Gross: "Introduction" 9 // Bernhard H. F. Taureck: "Surveillance – A Complex Relationship" 27 // Florian Zappe: "Gazing Back at the Monster – A Critical Posthumanist Intervention on Surveillance Culture, Sousveillance and the Lifelogged Self" 39 // Bärbel Harju: "Too Much Information: Self-Monitoring and Confessional Culture" 57 // Felix Haase: "Death by Data: Identification and Dataveillance in Gary Shteyngart's Super Sad True Love Story" 85 // Birgit Däwes: "Flickers of Vision: Surveillance and the Uncertainty Paradigm in Dave Eggers's The Circle" 103 // Andrew S. Gross: "The Black Box of Humanism: Surveillance, the Spy Narrative, and Literary Form" 119 // Silke Järvenpää: Rap vs. Big Brother: The Conscious and the Comical" 137 // Hugh Davies: "The Art of Surveillance: Surveying the Lives and Works of Andy Warhol and Ai Weiwei" 153 // Marek Paryż: "Paranoia and Surveillance in Andrew Dominik's Film The Assassination of Jesse James by the Coward Robert Ford" 175 // Caren Myers Morrison: "Mythologies of Violence in American Police Videos" 191 // Garrett Stewart: "Afterword" 213 // ; https://www.peterlang.com/view/title/64899

What only a few decades ago would have been considered a totalitarian nightmare seems to have become reality: Surveillance practices and technologies have infiltrated all aspects of our lives, forcing us to reconsider established notions of privacy, subjectivity, and the status of the individual in society. The United States is central to contemporary concerns about surveillance. American companies are at the forefront of developing surveillance technologies; and government agencies, in the name of security and law and order, are monitoring our words and actions more than ever before. This book brings together an interdisciplinary group of scholars to explore the implications of what many consider to be a far-reaching social, political, and cultural transformation.

What is the real nature of television, and what is its place in contemporary society and culture? In a provocative rethinking of the medium and its ensuing effects, this book argues that we have misunderstood television and have thus contributed to a distorted view of art and culture in the 20th century. During the final quarter of this century both in academic and popular circles, we have spread wildly exaggerated claims about television's undermining of human consciousness and behavior. Television has become a scapegoat for all sorts of societal and cultural ills. The arguments presented by