K&K. Kultur og Klasse · Nr. 110 · Årgang 2010 - Aarhus University ...

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190 K&K · Kultur&Klasse · 110 · 2010 encounter daily has increased dramatically over the last couple of decades, not least due to tech nological developments that have led to significant changes in the ability to store, access and communicate information. This is a challenge with which both contemporary fiction and surveillance tech niques seem forced to deal: narrative fiction has to negotiate the increasing amount of information available in everyday life if it is to reflect on the conditions of human life in the contemporary 21 st century. Likewise, surveillance today is to a large degree about distinguishing relevant from irrelevant information – gigabytes and gigabytes of data or CCTV footage are of little use if we do not know what to look for. Surveillance thus problematises some of the key issues that contemporary fiction faces in relation to representation. This explains why looking at novels which directly occupy themselves with surveillance provides an inroad to understanding the contemporary, representational challenges of modern fiction and of life in a surveillance society. The main aim of the article is thus to point to the implications of contemporary surveillance tech nology on a cultural and aesthetic level, which can be likened to the ways in which the shock aesthetics and montage tech nique of the early 20 th century are coupled with the experience of the modern city. In this way, we can begin to understand further the impact of the increasing integration of surveillance in our everyday lives on our way of experiencing, understanding and representing the world. STEEN KLITGÅRD POVLSEN: SURVEILLANCE AND SPYING IN NEW GERMAN LITERATURE Surveillance is a remarkably prominent issue in the actual political debate in Germany. It is undoubtedly connected with past experiences. Both the Nazi-regime and the communist dictatorship in East Germany from 1945-1989 developed sophisticated systems for controlling citizens, thus the modern sensibility in Germany toward surveillance is explicitly a reaction against those regimes. “Never more a GDR” is a slogan that is often seen in newspapers and Internet sites. It is surprising however that this topic has had a relatively insignificant position in new German literature since the fall of the wall. In the late eighties and early nineties surveillance and spying was treated with humour and forbearance: there was something comical about the spy-game; the spies were often poor guys and it was the general conviction that the system would disappear with the reunion. All this has changed after September 11 th and the fight against terrorism which it activated. The opening up of the Stasi archives has also drawn new attention and sensibility to the issue. Two examples of this new tone are presented: Susanne Schädlich writes about her uncle spying on her father Hans-Joachim Schädlich – also after his emigration to Western Germany. It is a story about a family fission and of how to continue one’s life with the treachery of a once beloved person. Juli Zeh uses her education and training as a jurist to scrutinize the total system of surveillance in a society still claiming to be democratic. She does so in a collection of essays (with Ilija Trojanow) and in her best seller novels, latest Corpus delicti with the Kafka-sounding subtitle “a process”. Juli Zeh is the most prominent example of the tendency in new German literature to take up the tradition from the GDR-literature DETTE MATERIALE ER OPHAVSRETSLIGT BESKYTTET OG MÅ IKKE VIDEREGIVES INDHOLD
DETTE MATERIALE ER OPHAVSRETSLIGT BESKYTTET OG MÅ IKKE VIDEREGIVES INDHOLD Abstracts with its ethical obligation and fight against the totalitarian state. She is an example of the tendency to activate this special German tradition under new political circumstances – and new global perspectives. MIKKEL BOLT: CONTROL SOCIETY AND GUN BOAT DIPLOMACY An attempt to address the question of the relationship between decentred networks and sovereignty after 9/11 starting from Deleuze’s “Postscript on the Societies of Control”. In 1990 Gilles Deleuze published his short text “Postscript on the Societies of Control” in which he presented an almost intuitive analysis of contemporary capitalist society explaining how we were going from the separate spheres of disciplinary society to a flexible network-based society where the traditional discourses and institutions were being broken down in favour of a continual control where the individual was always in school, in prison or at work. Deleuze’s brief text was highly influential but since 9/11 and the declaration of the so-called ‘war on terror’ it has seemed necessary to supplement the analysis of the complex functioning of the control society with analysis that either stress the return of sovereignty (like Giorgio Agamben) or map the workings of capitalist economy (like David Harvey). This paper looks at this development and discusses the relationship between networks and sovereignty today. KAREN-MARGRETHE SIMONSEN: SURVEILLANCE AS LAW. CASE-STUDIES OF HASAN ELAHI AND THE SURVEILLANCE CAMERA PLAYERS This article traces sousveillance strategies in two pieces of contemporary art, namely in Hasan Elahi’s Tracking Transience (2002), and 1984 by The Surveillance Camera Players. It discusses the ways that contemporary art reflects surveillance in an ironic and metareflective way. The article is based on the idea that the conditions for understanding the logics of surveillance have changed since World War II. It takes its point of departure in Gilles Deleuze’s proposition that we live in post-disciplinarian societies and that contemporary surveillance should be understood not according to the logic of the panopticon but according to the logic of a coded ‘control society’ based on modulations. It also follows the idea, proposed by Larry Catá Backer that surveillance not only is a phenomenon facilitated by law but is also a phenomenon that creates its own law and regulation. 191
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