This week as part of our conversations about digital proliferation and surveillance we’re attending parts of the Spectatorship in an Age of Surveillance symposium in Bard’s Fisher Center for the Performing Arts. It’s co-sponsored by the Theater & Performance Program, Live Arts Bard, Experimental Humanities, and Film & Electronic Arts, with support from the American Society for Theatre Research.
You can find the full schedule for the symposium here.
If you couldn’t make Trevor Paglen‘s artist talk on Tuesday, or can’t make Thursday’s panel at 7pm with James Harding, Sarah Bay-Cheng, and Elise Morrison for any reason, you can make up the missed event by attending one of the talks or panels on Friday, and writing a post about it for this blog. (Posts should be up by midnight on Sunday to count towards attendance.)
The symposium features a number of fantastic speakers, including an artist’s talk and demo by Ben Coonley of Bard’s Film & Electronic Arts Program on his 3-D video installation “Trading Futures.” This will be on display in a 9-foot wide cardboard geodesic dome (and is shortly going up in the “Dreamlands” show at the Whitney Museum).