This special issue focuses on the cultural forms, technologies, and social logics of dissimulation. In this introduction, we propose a critical examination of the cultural and political entanglements of three emblematic domains of dissimulation: camouflage, steganography, and encryption. Focusing on the study of mediality, our analysis crosses the evolution of media environments and representations of these dissimulation processes to better understand their modes of legitimization and symbolic operativity.
{"title":"Introduction. The Mediality of Concealment: Material Practices and Symbolic Operativity","authors":"Nathalie Casemajor, S. Toupin","doi":"10.7202/1058467AR","DOIUrl":"https://doi.org/10.7202/1058467AR","url":null,"abstract":"This special issue focuses on the cultural forms, technologies, and social logics of dissimulation. In this introduction, we propose a critical examination of the cultural and political entanglements of three emblematic domains of dissimulation: camouflage, steganography, and encryption. Focusing on the study of mediality, our analysis crosses the evolution of media environments and representations of these dissimulation processes to better understand their modes of legitimization and symbolic operativity.","PeriodicalId":42444,"journal":{"name":"Intermedialites","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41494534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Cet article analyse comment le cinéma représente les gueules cassées en relation avec les autres médias (actualités, photographie, littérature, peinture, bande dessinée). À partir de la distinction de Levinas entre « la face » et « le visage », l’auteure questionne le recours au camouflage. Les blessures de guerre sont ainsi cachées par une esthétique du masque, telle que la surimpression, qui permet selon une approche éthique ambivalente de révéler le « visage » au-delà de la défiguration.
{"title":"Les gueules cassées ou l’éthique de l’écran crevé : du masque au visage cinématographique","authors":"K. Chevalier","doi":"10.7202/1058471AR","DOIUrl":"https://doi.org/10.7202/1058471AR","url":null,"abstract":"Cet article analyse comment le cinéma représente les gueules cassées en relation avec les autres médias (actualités, photographie, littérature, peinture, bande dessinée). À partir de la distinction de Levinas entre « la face » et « le visage », l’auteure questionne le recours au camouflage. Les blessures de guerre sont ainsi cachées par une esthétique du masque, telle que la surimpression, qui permet selon une approche éthique ambivalente de révéler le « visage » au-delà de la défiguration.","PeriodicalId":42444,"journal":{"name":"Intermedialites","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43774491","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
L’article soulève le potentiel subversif de démarches artistiques contemporaines qui se positionnent face à la domination du regard et de la production d’images en visant des territoires invisibles, inaccessibles ou interdits. À travers les analyses de deux projets artistiques réalisés illégalement en prison — Temps mort de Mohamed Bourouissa et Recording Carceral Landscapes de Trevor Paglen — et de plusieurs séries photographiques de Trevor Paglen investiguant sur des secrets de l’armée américaine ou sur les câbles Internet transatlantiques, l’auteure présente les modes opératoires et les enjeux de telles représentations « volées ». Aux yeux de l’auteure, si ces oeuvres dévoilent des vues inédites, elles le font pour inviter à penser différemment le réel et exemplifier des possibilités de résistance menées de l’intérieur de la société du contrôle.
{"title":"Prises de vue clandestines comme exercice du (contre)pouvoir de l’art : Trevor Paglen et Mohamed Bourouissa reprennent le contrôle du visible","authors":"Katrin Gattinger","doi":"10.7202/1058470AR","DOIUrl":"https://doi.org/10.7202/1058470AR","url":null,"abstract":"L’article soulève le potentiel subversif de démarches artistiques contemporaines qui se positionnent face à la domination du regard et de la production d’images en visant des territoires invisibles, inaccessibles ou interdits. À travers les analyses de deux projets artistiques réalisés illégalement en prison — Temps mort de Mohamed Bourouissa et Recording Carceral Landscapes de Trevor Paglen — et de plusieurs séries photographiques de Trevor Paglen investiguant sur des secrets de l’armée américaine ou sur les câbles Internet transatlantiques, l’auteure présente les modes opératoires et les enjeux de telles représentations « volées ». Aux yeux de l’auteure, si ces oeuvres dévoilent des vues inédites, elles le font pour inviter à penser différemment le réel et exemplifier des possibilités de résistance menées de l’intérieur de la société du contrôle.","PeriodicalId":42444,"journal":{"name":"Intermedialites","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48714140","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
L’emblématique anagramme de « Goyave » recouvre chez Karone la notion de voyage. Avec d’autres techniques de dissimulation, elle participe d’une stratégie de survie dans un contexte hostile aux auteurs camerounais gagnés à l’indignation et à la résistance. De tels motifs cachent alors une façon de se mettre hors d’atteinte, d’exemplifier le vide de la quête existentielle, d’atteindre chaque cible/lecteur sans compromettre la vision progressiste de l’écriture, mais aussi d’assurer le plaisir et la jouissance du texte.
{"title":"Voyage sous « Goyave » : anagrammes et autres clefs d’accès à l’univers romanesque de Yodi Karone","authors":"Blaise Tsoualla","doi":"10.7202/1058468AR","DOIUrl":"https://doi.org/10.7202/1058468AR","url":null,"abstract":"L’emblématique anagramme de « Goyave » recouvre chez Karone la notion de voyage. Avec d’autres techniques de dissimulation, elle participe d’une stratégie de survie dans un contexte hostile aux auteurs camerounais gagnés à l’indignation et à la résistance. De tels motifs cachent alors une façon de se mettre hors d’atteinte, d’exemplifier le vide de la quête existentielle, d’atteindre chaque cible/lecteur sans compromettre la vision progressiste de l’écriture, mais aussi d’assurer le plaisir et la jouissance du texte.","PeriodicalId":42444,"journal":{"name":"Intermedialites","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43046772","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay is the first dedicated solely to the work and archive of Ibrahim and Chalil (Khalil) Rissas (Rassas). Ibrahim was one of the pioneers of Palestinian photography in Jerusalem in the early twentieth century and Chalil, his son, was one of the first Palestinian photojournalists in the 1940s. Rissas’ images were looted and seized by Israeli officer from the photographers’ studio, from the body of a soldier or “slain Arab,” or “rescued” from a burning shop. Those photographs that had been looted from the studio, were the first collection I found in the Israeli military archives. In this essay I chart and analyze the way Rissas’ images were looted on several occasions and the moral, sociological, and political consequences of these acts—for instance how the looted object becomes a symbol of triumph or acts as a vehicle to dehumanize the enemy. The essay is also the first to focus on the phenomenon of pillage by individuals who transfer the looted cultural assets to colonial official archives where they are ruled by the colonial administration. It thus reflects not only the responsibility of states in the process of “knowledge production” and on their role in distorting the past and rewriting history by various bureaucratic, linguistic, and legal means, but also on the role of citizens in these destructive processes.
{"title":"“Imprisoned Photographs”: The Looted Archive of Photo Rissas (Rassas)—Ibrahim and Chalil (Khalil) Rissas1","authors":"Ron Sela","doi":"10.7202/1058469AR","DOIUrl":"https://doi.org/10.7202/1058469AR","url":null,"abstract":"This essay is the first dedicated solely to the work and archive of Ibrahim and Chalil (Khalil) Rissas (Rassas). Ibrahim was one of the pioneers of Palestinian photography in Jerusalem in the early twentieth century and Chalil, his son, was one of the first Palestinian photojournalists in the 1940s. Rissas’ images were looted and seized by Israeli officer from the photographers’ studio, from the body of a soldier or “slain Arab,” or “rescued” from a burning shop. Those photographs that had been looted from the studio, were the first collection I found in the Israeli military archives. In this essay I chart and analyze the way Rissas’ images were looted on several occasions and the moral, sociological, and political consequences of these acts—for instance how the looted object becomes a symbol of triumph or acts as a vehicle to dehumanize the enemy. The essay is also the first to focus on the phenomenon of pillage by individuals who transfer the looted cultural assets to colonial official archives where they are ruled by the colonial administration. It thus reflects not only the responsibility of states in the process of “knowledge production” and on their role in distorting the past and rewriting history by various bureaucratic, linguistic, and legal means, but also on the role of citizens in these destructive processes.","PeriodicalId":42444,"journal":{"name":"Intermedialites","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42355722","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article places Zach Blas’ Facial Weaponization Suite (2011–2014) in relation to the notion of algorithmic governmentality in order to reveal a tactic of disidentification. Algorithmic governmentality refers to the implementation of big data surveillance that does not render individuals visible, but rather circumvents them, thereby complicating the possibility of a critical engagement. Such critical engagement, however, can be envisioned through the Facial Weaponization Suite.
{"title":"Inhabiting the Profile: Zach Blas’ Facial Weaponization Suite","authors":"Sebastian Althoff","doi":"10.7202/1058472AR","DOIUrl":"https://doi.org/10.7202/1058472AR","url":null,"abstract":"This article places Zach Blas’ Facial Weaponization Suite (2011–2014) in relation to the notion of algorithmic governmentality in order to reveal a tactic of disidentification. Algorithmic governmentality refers to the implementation of big data surveillance that does not render individuals visible, but rather circumvents them, thereby complicating the possibility of a critical engagement. Such critical engagement, however, can be envisioned through the Facial Weaponization Suite.","PeriodicalId":42444,"journal":{"name":"Intermedialites","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43463310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the media technologies that mark paper as authentic. Using the examples of passports and paper banknotes, it considers the security features (e.g. graphic marks, holographs, chips) that do the work of reliably storing, protecting, and communicating authenticity across both space and time. These overt and covert authentication devices are examined in two interconnected ways: 1) as technologies with specific temporal conditions, constrained both by technical longevity and functional lifespan; and 2) as technologies that must be continuously reinvented to outpace counterfeiters and forgers. Together, these attributes have led to strategies of concealment that shift authentication from a human-legible activity at the perceptible surface to one that is concealed in the depths of machine readability. While this adds a level of security, it is also an example of how the material environment becomes rich in information that is inaccessible to human processing.
{"title":"Storing Authenticity at the Surface and into the Depths: Securing Paper with Human- and Machine-Readable Devices1","authors":"A. Kamińska","doi":"10.7202/1058474AR","DOIUrl":"https://doi.org/10.7202/1058474AR","url":null,"abstract":"This article examines the media technologies that mark paper as authentic. Using the examples of passports and paper banknotes, it considers the security features (e.g. graphic marks, holographs, chips) that do the work of reliably storing, protecting, and communicating authenticity across both space and time. These overt and covert authentication devices are examined in two interconnected ways: 1) as technologies with specific temporal conditions, constrained both by technical longevity and functional lifespan; and 2) as technologies that must be continuously reinvented to outpace counterfeiters and forgers. Together, these attributes have led to strategies of concealment that shift authentication from a human-legible activity at the perceptible surface to one that is concealed in the depths of machine readability. While this adds a level of security, it is also an example of how the material environment becomes rich in information that is inaccessible to human processing.","PeriodicalId":42444,"journal":{"name":"Intermedialites","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45993431","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Following Edward Snowden’s revelations, end-to-end encryption is becoming increasingly widespread in messaging tools—solutions that propose a large variety of ways to conceal, obfuscate, disguise private communications and online activities. Designing privacy-enhancing tools requires the identification of a threat model that serves to agree upon an appropriate threshold of anonymity and confidentiality for a particular context of usage. In this article, we discuss different use-cases, from “nothing-to-hide” low-risk situations to high-risk scenarios in war zones or in authoritarian contexts, to question how users, trainers, and developers co-construct threat models, decide which data to conceal, and how to conceal it. We demonstrate that classic oppositions such as high-risk versus low-risk, privacy versus security, should be redefined within a more relational, processual, and contextual approach.
{"title":"Hiding from Whom?","authors":"Ksenia Ermoshina, F. Musiani","doi":"10.7202/1058473AR","DOIUrl":"https://doi.org/10.7202/1058473AR","url":null,"abstract":"Following Edward Snowden’s revelations, end-to-end encryption is becoming increasingly widespread in messaging tools—solutions that propose a large variety of ways to conceal, obfuscate, disguise private communications and online activities. Designing privacy-enhancing tools requires the identification of a threat model that serves to agree upon an appropriate threshold of anonymity and confidentiality for a particular context of usage. In this article, we discuss different use-cases, from “nothing-to-hide” low-risk situations to high-risk scenarios in war zones or in authoritarian contexts, to question how users, trainers, and developers co-construct threat models, decide which data to conceal, and how to conceal it. We demonstrate that classic oppositions such as high-risk versus low-risk, privacy versus security, should be redefined within a more relational, processual, and contextual approach.","PeriodicalId":42444,"journal":{"name":"Intermedialites","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7202/1058473AR","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45878385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Cet article porte sur les images thermographiques dans le film hollywoodien Hollow Man (Paul Verhoeven, 2000). La thermographie y est employée comme outil de surveillance faillible, permettant au corps scruté de se camoufler et brisant le pouvoir de contrôle de l'observateur. Nous mettons également en évidence la part impure de l'image thermique, presque étrangère au modèle rétinien de la caméra. En cela, la thermographie annonce le devenir abstrait du cinéma numérique.
{"title":"Cartographie/Thermographie. Regards et corps instruits dans Hollow Man (Paul Verhoeven, 2000)","authors":"R. Lauvin","doi":"10.7202/1049953AR","DOIUrl":"https://doi.org/10.7202/1049953AR","url":null,"abstract":"Cet article porte sur les images thermographiques dans le film hollywoodien Hollow Man (Paul Verhoeven, 2000). La thermographie y est employée comme outil de surveillance faillible, permettant au corps scruté de se camoufler et brisant le pouvoir de contrôle de l'observateur. Nous mettons également en évidence la part impure de l'image thermique, presque étrangère au modèle rétinien de la caméra. En cela, la thermographie annonce le devenir abstrait du cinéma numérique.","PeriodicalId":42444,"journal":{"name":"Intermedialites","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7202/1049953AR","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47924599","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Dans sa conférence de clôture présentée lors du premier colloque du CRI en 1999, Éric Méchoulan se questionnait déjà sur l’étrange usage, que font certains chercheurs en études intermédiales, des ouvrages de Gilles Deleuze : « [...] il faudrait à ce moment-là se dire que l’intermédialité ne consisterait pas tant à traquer les jeux incessants et innombrables des médiations qui nous constituent, mais plus sourdement à repérer les moments d'immédiateté qui nous emportent. » C’est la lecture de cette phrase qui a déclenché la présente réflexion; on tentera justement d’articuler théoriquement ces deux manières de penser l’intermédialité, en décrivant par le biais de la philosophie deleuzienne ce que l’on pourrait définir comme une dynamique tensive entre les médiations et ce que Méchoulan appelle les immédiatetés complexes.
{"title":"Une dynamique tensive","authors":"Fabien Dumais","doi":"10.7202/1049944AR","DOIUrl":"https://doi.org/10.7202/1049944AR","url":null,"abstract":"Dans sa conférence de clôture présentée lors du premier colloque du CRI en 1999, Éric Méchoulan se questionnait déjà sur l’étrange usage, que font certains chercheurs en études intermédiales, des ouvrages de Gilles Deleuze : « [...] il faudrait à ce moment-là se dire que l’intermédialité ne consisterait pas tant à traquer les jeux incessants et innombrables des médiations qui nous constituent, mais plus sourdement à repérer les moments d'immédiateté qui nous emportent. » C’est la lecture de cette phrase qui a déclenché la présente réflexion; on tentera justement d’articuler théoriquement ces deux manières de penser l’intermédialité, en décrivant par le biais de la philosophie deleuzienne ce que l’on pourrait définir comme une dynamique tensive entre les médiations et ce que Méchoulan appelle les immédiatetés complexes.","PeriodicalId":42444,"journal":{"name":"Intermedialites","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71149271","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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